Дисертації з теми "1900-"

This thesis examines the popular and cultural legacy of Charles Dickens in the period 1900-1940. During this period Dickens was largely ignored or derided within the academy but his works remained consistently marketable to a popular audience. The thesis explores Dickens’s mass cultural appeal, assessing what the term ‘Dickensian’ represented in the early decades of the twentieth century and evaluating Dickens’s role as a national figure. This thesis engages with recent scholarship in the fields of Dickens criticism, heritage studies and material culture to explore a popular appreciation of Dickens which is characterised by its language of feeling and affect. The first chapter situates Charles Dickens’s literary standing and cultural legacy in the light of both critical and popular responses to his work. The chapter charts the development of the Dickens Fellowship and examines the role of this literary society in constructing and promoting a selective public image of Dickens. Chapter Two examines the motivations behind different forms of collecting, and suggests that collecting can be understood as a form of popular engagement with Dickens’s writing. The chapter contends that Dickensian collecting differs significantly from broader collecting practices and can be viewed as a more generous model of collecting. The idea of collecting as a popular response to Dickens is extended in Chapter Three which takes as its focus one particular form of book collecting: the practice of grangerization. Grangerization is characterised as an alternative reading practice through which the experience of reading a text could be extended. Two further alternative reading practices are explored in Chapters Four and Five. Chapter Four demonstrates how in founding the ‘Dickens House Museum’, the Dickens Fellowship aimed to create a permanent memorial site for Dickens. The chapter highlights the language of feeling utilised in the promotional material for the museum and argues that the items selected for display were designed to produce an emotional and imaginative response in the museum’s visitors. Chapter Five considers how readers expressed their engagement with Dickens’s works through literary pilgrimages to sites from his novels. The chapter suggests that these pilgrimages represent an active reading of Dickens’s novels, which offer readers a participatory experience of immersion in the world of the narrative. It argues that this kind of immersive experience is generated by the strong affective responses of many readers to Dickens’s writings.

"Bostadspolitik i Västerås kommun 1900-1950" undersöker den kommunala bostadspolitiken i Västerås under den första halvan av 1900-talet genom att studera hur kommunfullmäktige diskuterat frågan och vilka beslut de tagit. I början av perioden fanns det ingen egentlig bostadspolitik i Västerås. Senare utvecklas diverse bostadspolitiska lösningar, framförallt för att bemöta bostadsbrist, som leder fram välfärdsstatens bostadspolitik under det sena 1900-talet. Undersökningen resulterade i slutsatsen att bostadspolitiken under perioden i mycket stor utsträckning karakteriserades av tillfälliga åtgärder riktade mot specifika grupper, t.ex. hyreshjälp åt bostadslösa arbetare. Först mot slutet av den undersökta perioden riktar sig bostadspolitiken i Västerås mot en generell befolkning på lika villkor.

Many studies have been made of the 'Mexican Mural Renaissance', but these generally have not provided an integrated account of the philosophical and ideological beginnings, development and end of the Mexican government's 1920's programme. Also, recent studies dealing with aspects of the programme have brought new evidence forward which allows this study to provide an overview of the social, political and aesthetic context of the mural programme. This is helpful in the assessment of the muralists' artistic achievements both as individuals and as members of the artists' syndicate. Primary source material such as the artists' autobiographies and the newspapers such as 'La Vanguardia' and 'EI Machete' to which they frequently contributed have also been studied closely to provide new insights into their political thinking and aesthetic principles as they sought to create a 'revolutionary art for all.' Since the programme was government-sponsored as part of a national education policy, the ideology of the regimes which preceded and followed the Revolution of 1910-17 has been examined to ascertain how well the muralists' ideals and work matched the expectations of their official patrons. Accordingly an account is also given of the political life of Mexico, in particular during the dictatorship of Porfirio Diaz and the Revolution, and especially close attention is given to politics during the 1920's when the mural programme was underway. Concerning the muralists themselves, aspects of their experience which may have influenced their art are considered concurrently with their contemporary work. This is particularly important as a major question addressed in this study concerns the reduction of the muralists' programme from a group project, to the efforts of three noted muralists with assistance in some cases from others previously employed as muralists in their own right, to the final reduction of the programme to just Diego Rivera and several assistants.

This is a study of the interpretation of archaeological data by Anglo-American Bible scholars, though the emphasis is primarily American, in scholarly and popular publications from 1900-1930. The major archaeological research interest for many Anglo-American biblical scholars was its direct reflection on the biblical record. Many were devout and reared on a literal reading of Scripture. Traditional scholars insisted that the function of archaeology was to provide evidence to validate the Bible and to disprove higher criticism. They were clearly motivated by theological concerns and created an archaeology of faith that authenticated the word of the Lord and protected Christian doctrines. Liberal or mainstream scholars rejected conservative methods that simply collated archaeological data to attack the documentary hypothesis and its supporters. Several eminent Bible scholars developed important studies on the interpretation of archaeological results from Palestine. They participated eagerly in analyzing archaeological material and refused to concede the field of biblical archaeology to theologically-motivated conservative scholars and theologians. They were determined to conduct important investigations of the archaeological evidence free from theological bias. Palestinian excavations lacked the spectacular architectural and inscriptural remains unearthed in Egypt and Mesopotamia. The popular press did occasionally report on the progress of several excavations from Palestine, but, for the most part, Palestinian excavations concentrated on tells and pottery and the results were disappointing. However, by the 1920s the New York Times was a major source of information concerning archaeological news and frequently carried stories that indicated that archaeology was confirming the biblical record and many of the Bible's revered figures. The Times played a vital role in popularizing biblical archaeology and contributed many illustrations of amazing archaeological discoveries that "proved" the historicity of the biblical text. W. F. Albright's scholarly conclusions in the 1920s were moderate. Albright's scholarship was not motivated by theological concerns as many have assumed. Though his religious convictions were assuredly conservative, his scholarship had little in common with the tendentious archaeological assumptions created by conservative Bible scholars and theologians. Albright's interpretations were based on the archaeological data and not on theological dogma.

Amb el títol de «Joventut» (1900-1906) i el darrer modernisme presentem la recerca sobre aquest setmanari que, a més de la tasca catalanista i cultural en sentit ampli empresa durant els seus set anys de vida, va impulsar, primer en paral.lel i després en solitari fins al 1914, l'edició d'obres dels més reputats autors catalans i estrangers. El nostre treball s'estructura en catorze apartats els quals, a banda del capítol I. ESTAT DE LA QÜESTIÓ, destinat a revisar els materials bibliogràfics més significatius que d'ençà de la fi de l'editorial i fins a l'actualitat han estudiat o valorat la tasca dels homes de «Joventut», segueixen a grans trets aquest doble vessant de reconstrucció de la història externa de la revista i de l'editorial, per a passar després a analitzar els àmbits més significatius que vertebren i donen caràcter a la publicació. En el capítol II. LA FORMACIÓ DEL NUCLI INTEL.LECTUAL DE «JOVENTUT», reconstruïm la prehistòria del grup, és a dir, com es coneixen, quines són les seves col.laboracions en l'àmbit literari i la seva primera temptativa periodística al capdavant de «Setmana Catalanista». En el capítol III.«JOVENTUT» (1900-1906): DESCRIPCIÓ I FUNCIONAMENT, es comenten els inicis del setmanari, la composició del cos de redacció i els col.laboradors; la descripció més general de la revista; els motius que addueix la Redacció per posar fi al setmanari; i aspectes relatius al seu finançament i a la seva política comercial. En el capítol IV. LA BIBLIOTECA JOVENTUT (1901-1914), oferim una descripció general i completa de la tasca desenvolupada per l'editorial. En un segon bloc, comprès dels capítols V a l'XI, focalitzem l'atenció en el comentari analític, i contrastat amb la bibliografia, dels diferents àmbits temàtics en què «Joventut» estructura els seus continguts. Així, en el capítol V. EL DISCURS DE LA MODERNITAT, analitzem des d'un enfocament ampli, tres camps d'actuació en què el setmanari orienta els seus esforços de renovació: la construcció d'un espai liberal i de progrés en el si de la Unió Catalanista, el distanciament respecte a Espanya i la presentació d'alguns aspectes característics de l'obertura a Europa (feminisme, conreu de la ciència...). En el capítol VI. LA CREACIÓ I LA CRÍTICA LITERÀRIES, ens enfrontem a un complex i eclèctic panorama de les lletres, que analitzem des d'una triple perspectiva que segueix un eix cronològic: a) l'estudi de la recepció de la literatura vuitcentista i el debat sobre la funció dels Jocs Florals en els primers anys de segle )0C; b) el reflex de l'eclecticisme estètic com a paradigma de la modernitat contemporània, enfocant l'anàlisi per gèneres i singularitzant, en el cas de la poesia i de la prosa, l'estudi concret de la recepció de Joan Maragall, de Joaquim Ruyra i de Víctor Català; i c) la lectura dels clàssics a «Joventut», en la confluència amb el noucentisme emergent. En el capítol VII. LA CRÍTICA TEATRAL, emprenem l'estudi d'aquesta secció, al capdavant de la qual Emili Tintorer s'encarregà de fer balanç de la situació del teatre català, de formular propostes de futur per tal de regenerar l'escena catalana i modernitzar-la, i es va responsabilitzar de la recepció crítica de les obres dramàtiques representades a Barcelona. En el capítol VIII. LA CRÍTICA MUSICAL, en primer lloc, analitzem el perfil del primer i principal responsable, Joaquim Pena, i resseguim les seves aportacions crítiques i el grau d'intervenció del setmanari en la creació i l'impuls de l'Associació Wagneriana; i, en segon lloc, abordem l’evolució de la secció de crítica musical, després de la baixa de Pena, quan aquesta passa a mans de Jeroni Zanné i d’altres col·laboradors. Semblantment, en el capítol IX. ART: CREACIÓ I CRÍTICA, analitzem la tasca dels diversos directors artístics del setmanari (Alexandre de Riquer, Joan Brull i Sebastià Junyent, principalment), i comentem la posició de «Joventut» sobre el modernisme artístic, els debats sobre art, catalanisme i moral, i la defensa de l’art antic i del patrimoni, entre altres qüestions. Els dos apartats següents centren l’atenció en l’àmbit lingüístic. En el capítol X. EL DECIDIT IMPULS A L’ESPERANTO, analitzem la important feina de divulgació que el setmanari va emprendre, a partir de 1905 i de la mà de Frederic Pujulà i Vallès, a favor del coneixement i l’ús d’aquesta llengua internacional. I, finalment, tot i que no respon com en els altres casos a l’estudi d’una secció, en el capítol XI. «JOVENTUT» I LA LLENGUA CATALANA, tractem la defensa aferrissada de l’ús de la llengua catalana en tots els àmbits i les diverses opinions i controvèrsies a l’entorn de la llengua normativa. L’apartat d’estudi estricte del setmanari «Joventut» es completa, després dels obligats capítols XII. CONCLUSIONS i XIII. SELECCIÓ BIBLIOGRÀFICA, amb el capítol XIV. ANNEXOS: a) Índexs: General d’autors i col·laboracions anònimes, Matèries i complementari de noms, Alfabètic d’autors de poesia, Alfabètic d’autors de narracions, Poemes, Narracions, Obres teatrals, Il·lustradors, Autors traduïts, Traductors, Llibres ressenyats, Crítics i obres ressenyades, Revistes ressenyades, Crítica teatral i Crítica musical; b) Textos inèdits i articles; c) subscripcions, censos i llistes diverses; i d) Documents gràfics.
Our research entitled «Joventut» (1900-1906) and the last modernism is about this weekly publication which, besides the Catalanist and cultural task carried out in a broad sense during its seven years of existence, it also promoted, firstly in parallel and later by itself, the edition of literary works by the most highly reputed Catalan and foreign authors. Our research work is organised in fourteen parts which, with the exception of Chapter 1, deal with the twofold perspective of the reconstruction of the external history of the weekly paper and the editorial department. This is followed by the analysis of the most meaningful fields that are essential and also provide its own character to the publication. Differently, Chapter I. THE STATE OF THE QUESTION (L'ESTAT DE LA QUESTIO) is intended to examine the most relevant bibliographic materials that have studied and valued the job of the editors of «Joventut» from the end of the publishing house to the present time. In chapter II. THE FORMATION OF THE INTELLECTUAL CORE OF «JOVENTUT» (LA FORMACIO DEL NUCLI INTELLECTUAL DE «JOVENTUT»), we reconstruct the prehistory of the group, that is to say, how they meet, what their collaborations in the literary field are, and their first journalist attempt when being in charge of the publication «Setmana Catalanista». In chapter III .«JOVENTUT» (1900-1906): DESCRIPTION AND OPERATION («JOVENTUT» (1900-1906): DESCRIPCIO I FUNCIONAMENT), we mention the beginnings of the weekly paper, the composition of the editors team and the collaborators; the general description of the publication; the reasons that the Editors claimed to put and end to the magazine; and the aspects related to their funding and their commercial policy. In chapter IV. THE LIBRARY JOVENTUT (1901-1914) (LA BIBLIOTECA JOVENTUT) we provide a general and complete description of the task carried out by the publishing house. In a second section, which includes chapters V to XI, we focus our attention on the analytic commentary, and corroborated with the current existing bibliography, of the different thematic fields that «Joventut» arranges its contents. In this way, in chapter V. THE DISCOURSE OF MODERNITY (EL DISCURS DE LA MODERNITAT), we analise, from a broad point of view, the three different domains that the weekly publication took into account in order to become updated: the construction of a liberal space and also a space of progress in the bosom of the plotical party Unio Catalanista, the rift from Spain and the introduction of some common features of the opening to Europe (feminism, a growing interest for science...). In chapter VI. THE LITERARY CREATION AND CRITICISM (LA CREACIO I LA CRITICA LITERARIES), we face a complex and eclectic literary scene, which we analise from a triple point of view, following a timeline: a) a study of the literature of the 19th century and the debate about the purpose of the Floral Games (Jocs Florals) in the early years of the 20th century; b) the reflex of the aesthetic eclecticism as a paradigm of the contemporary modernity, focusing on the analysis of literary genres and emphasizing, concerning poetry and prose, the specific study of the reception of works by Joan Maragall, Joaquim Ruyra and Victor Catala; and c) the reading of the Classics in «Joventut», in the convergence with the emerging Noucentism. In chapter VII. THE THEATRE CRITICISM (LA CRITICA TEATRAL), we undertake the study of this part of the publication, with Emili Tintorer as the one in charge of it and the one who evaluated the situation of the Catalan theatre, making proposals for the future so as to regenerate the Catalan scene and modernise it. He was also the responsible of the criticisms of the plays performed in Barcelona. In chapter VIII.THE MUSIC CRITICISM (LA CRÍTICA MUSICAL), we firstly examine the profile of the first and main responsible critic, Joaquim Pena, and we consider his judgements to this type of criticism and the level of contribution of the weekly publication to create and promote the Wagnerian Association; and, secondly, we deal with the development of the section of music criticism, after Pena left the team, when Jeroni Zanné and other collaborators took charge of this section of the publication. Similarly, in chapter IX. ART: CREATION AND CRITICISM (ART: CREACIÓ I CRÍTICA), we analise the task of the different artistic directors of the weekly publication (Alexandre de Riquer, Joan Brull i Sebastià Junyent, mainly), and we comment on the position of «Joventut» about the artistic modernism, the debates about art, catalanism and morals, and the defence of the ancient art and the heritage, among other issues. The next two parts concentrate on the linguistic field. In chapter X. THE DETERMINED BOOST TO ESPERANTO (EL DECIDIT IMPULS A L’ESPERANTO), we analyse the important job of dissemination that the publication undertook, from 1905 and at the hands of Frederic Pujulà i Vallès, in favour of the knowledge and use of this international language. And, finally, although it doesn’t belong to any section of the weekly paper as the previous ones, in chapter XI. «JOVENTUT» AND CATALAN («JOVENTUT» I LA LLENGUA CATALANA), we review the strong defence of the use of Catalan in all the fields and the different opinions and controversies around the normative language. After the compulsary chapters XII. CONCLUSIONS and XIII. REFERENCES (SELECCIÓ BIBLIOGRÀFICA), we conclude our study of the weekly publication «Joventut» with chapter XIV. ANNEX: a) Indexes: General index of authors and anonymous collaborations, Subjects and supplementary names, Alphabetical order of authors of poetry, Alphabetical order of authors of Narrations, Plays, Illustrators, Translated Authors, Translators, Reviews of Books, Critics and Review of Literaty Works, Reviews of weekly publications, Theatre and Music criticism; b) Unpublished texts and articles; c) Subscriptions, census and different types of lists; and d) Graphic documents.

The paper, with a brief summary of timber floating in Sweden and also of some previous re-search in this field, contains a study on costs for timber-floating in the river Dalälven located in central Sweden. The public used timber-floating system in Dalälven and the historical background about this activity is described. The study is focused on the total costs for timber-floating in the public open floating system in Dalälven from 1900 to 1970, the year before the timber-floating was definitively closed down. Also the costs for separating the logs of a specific owner when they reached the point where they could be separated from the timber of other owners are analyzed.

Au cours des quarante premieres annees du xxʿ siecle, differents espaces sceniques francais (theatres, music-halls, expositions universelles et coloniales) ont accueilli des danseurs venus d'asie, d'afrique, d'orient ou d'amerique et ont permis a un vaste public de decouvrir des formes choregraphiques et gestuelles nouvelles, resolument differentes des codes de la danse academique occidentale. Dans un contexte d'apogee coloniale et de progres industriel, ces danses exotiques constituerent une veritable curiosite et susciterent un formidable engouement, tant chez les spectateurs que chez les danseurs qui s'investirent de maniere plus ou moins approfondie dans leur pratique. A partir des itineraires de chacun des artistes exotiques, cette etude se propose de retracer l'histoire de la decouverte sur le sol francais des danses exotiques, qu'elles soient theatrales ou sociales. Elle en exposera les modalites, degagera les problematiques liees au processus de delocalisation/ relocalisation de formes choregraphico-culturelles, analysera les discours produits a l'occasion de cette rencontre et mesurera enfin son impact sur les pratiques sociales et artistiques de danse
During the first forty years of the xx0 century, various french show halls (theatre, variety, universal and colonial exhibitions) welcomed asian, african, oriental and american dancers and allowed a large audience to discover new choregraphic and gestural forms, resolutly different from the codes of the western academic dance. In a context of colonial apogee and industrial progress, these exotic dances became a real source of interest and a lot of passion resulted from this new trend, both for the public and for the dancers who were involved more or less deeply in their practice. Starting from each exotic artist's itinerary, the purpose of this study is to show the history of the discovery of exotic dances, social or theatrical, in france. It will look at the various stages of this discovery, will high light the issue about the process of transfer / adaptation of cultural and choregraphic forms. I will also analyse the speechs made at that time and will assess the impact of this new current on social and artistic dance practices

Notre objet est de rechercher des signes d'identification d'un pays rural à travers sa chanson traditionnelle, au cours de la première moitié du XXe siècle. Le pays limousin, situé aux contreforts ouest du Massif central français a un sol irrégulier un climat changeant, il est voué à l'élevage. Ne pouvant plus nourrir à cette époque, sa population grandissante, il est, comme d'autres grands pays ruraux européens, le siège de l'émigration. Pays Nord-Occitan, c'est une population éclatée, demeurant fortement attachée à ses racines qui véhicule dans sa mémoire, la langue, les sons, les rythmes supportant la tradition, les usages et par suite les chansons du pays, transmises jusqu'alors de bouches à oreilles. Quels sont les signes souvent très ténus mais non moins solides qui perdurent jusqu'à travers l'inconscient de ses ressortissants, dans ces pièces "toujours" entendues, qu'on extrait de la mémoire ? Quelle est l'intimité des liens qui se constituent entre la ligne parlée, la ligne chantée et qui se reflète longtemps dans les rythmes et les sons de la langue courante
Our purpose consists in searching identity marks in a rural land through its traditional songs during the first half of the twentieth century. The land of Limousin, part of the west foothills of French Massif Central and devoted to breeding, has an irregular ground and an unstable climate. In the early twentieth century, unable to provide food for its increasing population, Limousin was proned to emigration like many other large european lands. As a North-Occitan country, Limousin is a patchwork of native people, strongly attached to their roots, who bear in their memory, talks, sounds and rhythms, which support traditions, customs and consequently country songs orally relayed till nowadays. What are the marks, tenuous but strong, that remain unconsciously in the mind of the people within these songs, "ever" heard, that one extract from the memory ? What are the links being tied between speaking and singing lines which still stand out in the rhythms and sounds of everyday language ?

The vibrant school of printmaking which emerged and flourished in New Zealand between 1900 and 1950 forms the subject of this thesis. It examines the attitudes of the printmakers, many of whom regarded the print as the most democratic of art forms and one that should reflect the realities of everyday life. Their subject matter, contemporary city scenes, people at work and leisure, local landscapes, Maori and indigenous flora and fauna, is analysed and revealed as anticipating by over a decade that of regionalist painters. They are also identified as the first New Zealand artists to draw attention to social and environmental issues. Trained under the British South Kensington art education system, New Zealand printmakers placed great importance on craftsmanship. Although some worked in a realist style others experimented with abstraction and surrealism, placing them among the forefront of New Zealand artists receptive to modern art. Expatriate New Zealand printmakers played significant roles in three major printmaking movements abroad, the Artists' International Alliance, Atelier 17 and the Claude Flight Linocut Movement. The thesis redresses the failure of existing histories of New Zealand art to recognise the existence of a major twentieth-century art movement. It identifies the main factors contributing to the low status of printmaking in New Zealand. Commercial artists rather than those with a fine arts background led the Quoin Club, which initiated a New Zealand school of printmaking in 1916; Gordon Tovey's overthrow of the South Kensington system in 1945 devalued the craftsmanship so important to printmakers; and the rise of modernism, which gave priority to formal values and abstraction, further exacerbated institutional indifference to the print. The adoption of Maori imagery by printmakers resulted in recent art historians retrospectively accusing them of cultural appropriation. Even the few printmakers who attained some recognition were criticised for their involvement in textile and bookplate design and book-illustration. Key artists discussed in the thesis include James Boswell, Stephen Champ, Frederick Coventry, Rona Dyer, Arnold Goodwin, Thomas Gulliver, Trevor Lloyd, Stewart Maclennan, Gilbert Meadows, John L. Moore, E. Mervyn Taylor, Arthur Thompson, Herbert Tornquist, Frank Weitzel, Hilda Wiseman, George Woods, John Buckland Wright and Adele Younghusband. Details of the approximately 3,000 prints created during this period are recorded in a database, and summarised in the Printmakers' Survey included in Volume Two. In addition reproductions of 156 prints are illustrated and documented; while a further 43 prints are reproduced within the text of Volume One.

This thesis merges the history of the seaside and the history of the freak show, to explore the display of freaks in the first half of the twentieth-century, including their meanings, representations and constructions for the British public. It builds upon the scholarly research conducted by Leslie Fiedler, Robert Bogdan, Rosemarie Garland Thomson, and Nadja Durbach that focuses on the exhibition of unusual bodies for entertainment in the nineteenth-century. Through concentrating on displays of freakery between 1900 and 1950, it assesses the continuation of freakery at British seaside resorts, spaces on the physical and metaphorical margins of British life. The thesis assesses the seaside space as a site for the continuation of freakery in the twentieth-century. It examines the different types of unusual bodies that were displayed as part of the coastal freak show including midgets, starvation performers, fat people, and 'half-men, half-women'. Through contextualising exhibitions of unusual bodies within their social and cultural context, it demonstrates how the British public understood themselves in relation to the unusual person on display, particularly in reference to health, wellness, 'normality', and 'abnormality'. Ultimately, the thesis argues that freak shows remained central to British culture in seaside locations until the mid-twentieth century, when other forms of amusement, such as films and television, became more popular in the leisure lives of the public, and became the primary way in which the public appeased their curiosity in those with unusual bodies.

This thesis is a study of the cultural history of children’s reading. It is argued that it is important to apply a wider historical perspective to the contemporary debate on the rapid changes in children’s and young people’s reading habits, and that existing historical research rarely deals with reading as a practice, but rather with its institutional and textual conditions such as the school, the library system and children’s literature. The thesis thus aims to explore the practice of reading and its relations to historical circumstances.Through a close reading of 30 retrospective interviews conducted in the 1970’s and 80’s, the analysis deals with some of the experienced motives, inter- pretations, materialities and social dimensions of children’s reading practices experienced in the first decades of the 20th century. It offers a discussion of these practices as related to wider historical contexts. Theoretically, the analysis is in- spired by the conceptualizations of a ‘history of reading’ in the works of Roger Chartier, Robert Darnton and Jonathan Rose.It is concluded that even if the informants in principle had access to different models, motives and genres for reading, the practice of reading often had to take on the character of improvisation in contexts where material resources and soci- al sympathies for reading were lacking. Furthermore, in relation to the complex social tensions and dynamics surrounding reading, the practice may also be defined by its degree of legitimacy and/or autonomy in a given context.These results imply that further research and debate is needed on the con- nections between the value attributed to reading in relation to changing concepts of work and “usefulness”, on the collective historical experiences of cultural progression, and on issues of the identity of the modern children’s library.
Akademisk avhandling som med tillstånd av Forsknings- och utbildningsnämnden vid Högskolan i Borås framläggs till offentlig granskning klockan 13.00 fredagen den 16 december 2011 i sal M506, Högskolan i Borås

This thesis explores the relationship between sport, manliness and imperial identity in the years between 1900 and 1907. In the second half of the nineteenth century, driven by the public school ideology of muscular Christianity, participation in team sports, principally football and cricket, came to be viewed by social commentators as a central characteristic of the ideal English man. The ideology of muscular Christianity then spread throughout the rest of Britain and its Empire via schools and imperial institutions such as the army and civil service. By the end of the century the practice of sport was central to the conception of the manly imperial Briton. At the same time subjects of British rule began to participate in British sports in increasing numbers, leading to a public debate on their ability to embody imperial manliness. In the late-nineteenth and early-twentieth centuries there was a rapid growth in the playing of international sport, fuelled by faster means of communication between the metropole and the colonies, the development of a global media and the exploitation of sport as a commercial enterprise. This thesis argues that imperial sport was developed by a group of sports administrators, journalists, colonial officials and businessmen to foster a feeling of imperialism in the public at large. The matches they organised provoked a complex debate on imperial manliness. Defeat to colonial teams stirred anxieties about racial degeneration in the mother country, while debate surrounding the selection and performance of players from non-white communities in the empires of both Britain and France revealed competing visions of who could represent their empires in the public arena of sport.

Durante las primeras décadas del siglo XX floreció en el Perú un influyente movimiento antialcohólico,paralelo al que se desarrollaba a nivel mundial. En 1912 se fundó la Sociedad Nacional de Temperancia,que se convirtió en el vocero y principal promotor de los postulados del antialcoholismo en el Perú. En el artículo analizamos su desarrollo institucional,el trasfondo de sus integrantes,los mecanismos de difusión de su mensaje y las iniciativas legislativas que promovieron. Formaron parte del movimiento representantes de todos los sectores de la vanguardia social e intelectual de la época en una manifestación inédita de pluralismo y respeto mutuo. Destacaron especialmente sectores vinculados a la medicina y la pedagogía, junto a los más entusiastas promotores del movimiento: los misioneros protestantes.Su análisis nos permite descubrirlos ideales éticos de un proyecto modernizador que buscaba el bienestar de la población y el desarrollo social a través de la promoción de hábitos saludables y costumbres austeras.

L'implantation des entreprises etrangeres au maroc est le produit d'un long processus d'integration de l'economie marocaine dans le marche mondial. Elle a ete concue comme instrument indispensable a la mise en valeur de l'economie marocaine et a la modernisation du pays. Ainsi, de nombreuses entreprises etrangeres ont ete installees au maroc : le rythme de leur implantation, lent et limite avant la deuxieme guerre mondiale, s'est accelere durant les annees qui ont suivi la fin de la guerre grace a des conjonctures favorables, ce qui a entraine le boum de l'economie coloniale. Apres l'independance, le maroc projette une politique economique visant a accorder une place de premier plan aux capitaux marocains et a attenuer les effets de la domination du capital etranger. Certaines activites ont ete nationalisees et, en matiere d'investissement, un ensemble de mesures ont ete prises en faveur des investisseurs marocains, sans pour autant rebuter les investisseurs etrangers. Les resultats de cette politiques sont limites car, bien que la participation du capital etranger dans la creation des entreprises flechisse et celle du capital marocain progresse, les interets des grands groupes etrangers, notamment francais, tiennent encore une position non negligeable dans l'economie marocaine grace a la maitrise de la technologie et a une gestion efficace des entreprises. Toutefois, cette politique ne peut etre sous-estimee puisqu'elle a contribue a la formation d'une veritable bourgeoisie d'affaires marocaine et a la realisation de nombreux investissements mixtes, reunissant des capitaux marocains et etrangers
The implantation of the foreign enterprises, in morocco, is the product of the far way moroccan economic integration in the market of the world. It has been seen as the fundamentel instrument for economic developpment and modernisation. By this strategy, a lot of enterprises came to morocco during the protectotrat period, especially from france. The rhythm of their implatation was slow and limited before the end of the second world war ; however, after the war it became faster because the conditions have been favorable : it was the glorieus period of the colonial economy. Since the polical independence of morocco in 1956, the weight of the foreign enterprises in the moroccan economy has changed. A lot of measures have been adopted by the moroccan governments inorder to help moroccan investors, without really disturbing foreign ones. The results of this policy are limited, even though the participation of the moroccan capital is increasing and the foreign capital is decreasing. Some foreign great groups are still keeping an important position in the moroccan economy : the control of the technology belongs to them, since they have a knowledge of the management. Yet, this policy must not be under-estimated because it has contributed to the formation of the upper moroccan class. Thus, many investments are realized, gathering moroccan and foreign capitals

This thesis joins in the attempt to open some of the avenues which remained closed to the leading lights of Scotland's 1920s literary renaissance, establishing the innovative, feminist, and pluralistic intent in the best of women's fiction in the first half of this century, and locating it in a broader context identified as the 'parallel agenda'. Part One, Parallel Agenda, defines the basis of the thesis, outlining in the opening chapter, Double Marginalisation, the marginalisation undergone by Scottish writers within Britain, and by women writers within patriarchal culture, in general and in the particular experience of the authors studied. It challenges the orthodoxies constructed by the likes of Hugh MacDiarmid and George Blake with regard to the range of work produced in Scotland, and the nature of that produced by women. Chapter two, Women's Fiction And The Romantic Paradigm, defines alternative criteria by which to evaluate this fiction, relating it to the over-arching influence of Romanticism, in which the tension between individual and society is crystallised, and whose exponents show distinct differences according to gender. The chapter goes on to delineate a diagrammatic framework in which the authors' narrative strategies will be detailed in subsequent chapters. The second part is titled Divided Selves, and takes up the issue of individuality as located in the tradition of dualism found throughout writing of the Romantic and subsequent eras. In chapter three, Dualism And Self-Defence, dualism among Scottish writers is considered alongside that attributed to women writers by recent criticism, and the applicability and limitation of each discussed.

A maintes reprises, Leiris exprima son admiration pour Limbour et l'influence de l'oeuvre et des choix de cet auteur sur son propre parcours, tout en disant à quel point son écriture et celle de son ami s'opposaient, et combien les marques tangibles de l'influence ne pourraient être trouvées que dans peu de ses écrits. Le but de cette thèse est de mettre en lumière les signes patents de la présence et de l'influence limbourienne chez Leiris et d'éclairer plus particulièrement l'origine d'Aurora sous les auspices de cette influence à travers une étude de la réécriture des textes de Limbour dans le roman leirisien, trop souvent jusqu'ici qualifié de "fragmenté" ou de récit dans l'aspiration surréaliste et lyrique, ou encore reconduisant des conceptions esthétiques et romanesques qu'une réécriture affichée de textes du XIXe pouvait suggérer. Le décryptage qu'implique l'étude de la pratique de la réécriture, parce qu'il est une lecture verticale, nous invite à quitter l'aspect fragmenté ou l'intertextualité mise en avant pour "vagabonder" autrement, dans les sentiers limbouriens ouverts par Leiris, dans cet univers qui'il revisite, pour aller vers un livre autre. Lire Aurora, c'est alors se détourner de la lecture première, traverser différemment le texte, le perdre pour mieux s'y orienter, entrer dans le rêve de l'autre, passer de la part occulte et fougueuse affichée de l'écrit de jeunesse à la part occultée méditée, à l'influence "souterraine ou sous-marine" de Limbour dans lequel Leiris scrute sa propre image, l'interroge et construit, au travers même d'un secret qui s'affiche au grand jour, la recherche de l'authenticité, et sa propre histoire, poétiquement

La vida teatral a Andorra de 1900 a 1970 estudia el teatre a Andorra des dels seus inicis populars fins a l’aparició del teatre comercial, a partir de 1960, amb l'auge del Casal del Centre. A partir dels anys cinquanta comencen les produccions d’autors andorrans. La tesi té dues vessants. La històrico-sociològica centrada en les representacions teatrals que es posen en escena a Andorra durant aquells anys. I la folklòrico-literària on s’analitzen les obres pròpiament andorranes, entre les quals destaca la producció d’Esteve Albert. Com a conclusió, durant el període 1900 – 1970, es constata que el teatre andorrà és popular i en català, lligat a les festes de Nadal i Carnaval i a l’entorn pirinenc. Malgrat les nombroses representacions d’obres còmiques (la major part de les quals són realistes i de dramaturgs catalans) el substrat escènic folklòric i muntanyenc (com el dels balls de l’óssa) predomina.
La vida teatral en Andorra de 1900 a 1970 estudia el teatro en Andorra desde sus inicios populares hasta la aparición del teatro comercial, a partir de 1960, con el auge del Casal del Centre. A partir de los años cincuenta comienzan las producciones de autores andorranos. La tesis tiene dos vertientes. La histórico-sociológica centrada en las representaciones teatrales que se ponen en escena en Andorra durante aquellos años. Y la folclórica-literaria donde se analizan las obras propiamente andorranas, entre las que destaca la producción de Esteve Albert. Como conclusión, durante el periodo 1900 - 1970, se constata que el teatro andorrano es popular y en catalán, ligado a las fiestas de Navidad y Carnaval y en el entorno pirenaico. A pesar de las numerosas representaciones de obras cómicas (la mayor parte de las cuales son realistas y de dramaturgos catalanes) el sustrato escénico folclórico y montañoso (como el de los bailes de la osa) predomina.
Theatrical life in Andorra from 1900 to 1970 studies the theater in Andorra from its popular beginnings until the appearance of the commercial theater, from 1960, with the rise of the Casal del Centre. Beginning in the 1950s, the productions of Andorran authors began. And the folkloric-literary where the Andorran works are analyzed, among which the production of Esteve Albert stands out. As a conclusion, during the period 1900 - 1970, it's observed that the Andorran theater is popular and in Catalan, linked to the Christmas and Carnival parties and in the Pyrenean environment. The thesis has two aspects. The historical-sociological centered on the theatrical performances that are put on stage in Andorra during those years. In spite of the numerous representations of comic theatrical works (most of which are realistic and of Catalan playwrights) the folkloric and mountainous scenic substrate (like the one of the dances of the bear) predominates.

Thesis (M.A.)--University of Cincinnati, 2006.
Title from electronic thesis title page (viewed July 11, 2006). Includes abstract. Keywords: Japanese Graphic Design; Modern Japanese Art; Sugiura Hisui; Hashiguchi Goyo; Murayama Tomoyoshi; Yanase Masamu; Visuality. Includes bibliographical references.

S'agissant d'un pays où, en raison de l'effort de construction du second après-guerre, l'essentiel du parc de logements des années 2000 correspond à un héritage du 20ème siècle, ce travail vise à retracer un parcours français dont le caractère singulier a conformé le bâti. Revenant sur les modalités de la genèse au fil du siècle, on retient trois dimensions déterminantes : les spécificités de l'urbanisation française, les contraintes qui résultent d'un cumul de près de trente années d'engagements militaires de nature et d'intensité diverses, et une intervention publique tardive où l'État tient une place éminente. Après avoir examiné comment le modèle antérieur de développement du logement s'est brisé durant le premier vingtième siècle, on concentre l'attention sur la période d'intense construction nouvelle des années 1950-1980, et on s'appuie sur des archives inédites de l'État pour prendre la mesure de cet héritage architectural et urbain, dans sa forme comme dans sa consistance.

The aim of this dissertation is to describe and analyse the voting restrictions of the Swedish franchise reform of 1909. These restrictions required that the voter should be a male of good repute, who had paid his national and local taxes for three years before the election year, had done his military service, had not been declared incapacitated or bankrupt nor owed society any poor relief. In practice, this meant that some 20% of the adult male population were excluded from voting. This study explores both the ideological beliefs and political strategies behind these restrictions, and how the system worked in practice at the national and local levels. Since earlier literature has paid scant attention to the voter’s status as a citizen, this dissertation uses citizenship as one of its analytical tools. Although often described as universal suffrage for men, the 1909 Electoral Law was thus less radical than is usually assumed. As you had to have fulfilled certain obligations as a citizen in order to vote, it is hard to say that voting was a right. A central role in formulating these new conditions was played by the Riksdag’s moderate Conservative group. The reform therefore had the potential to preserve the political influence of the Right in the age of mass democracy, not least as the question of the unrestricted franchise for men and women could be deferred. However, the 1909 Electoral Law was not only aimed at reducing the political influence of the lower classes, but the proponents of the system also wanted to educate the citizens ideologically by constructing an image of the ideal citizen as a self-supporting male, who fulfilled his obligations to society. The National Women’s Franchise Association, whose campaign demanded suffrage for women on the same conditions as men, therefore had to relate to a political discourse dominated by (male) civic virtues and qualifications, and argue that women made a major contribution by fulfilling their special obligations to society. Also, the tax payment and poor relief voting restrictions in the 1909 franchise reform had an impact on the way proposals for women’s right to vote were formulated. The Social Democrats, whose electorate was heavily affected by the taxpaying qualification, in their programme for a constitutional reform demanded that this particular restriction should be abolished. To limit the number of party voters excluded from the polls, Social Democratic newspapers and election offices tried to mobilise disenfranchised workers to appeal the electoral register and get back on it. Those activities, which have been largely neglected in earlier research on the history of the Swedish Social Democratic Party, came to constitute an important element in the party’s election campaigns during the 1910s. In Sweden, the poor relief voting restriction (the pauper exclusion) was applied in a much more general way than in other countries, disqualifying recipients of very small or provisional amounts that had not been repaid as well as family providers who had received poor relief because of family members. The rules also proved very difficult to put into practice. The Social Democrats and many Liberals, but also leading members of the Swedish Poor Relief Association wanted to reform the law so that only those permanently supported by poor relief should lose their right to vote. Unlike the Social Democrats, the Liberals supported the taxpaying qualification as a necessary token of orderliness. However, they wanted the conscientious poor taxpayers to be distinguished from those who were neglectful and dilatory. As the Liberal-Social Democratic coalition government, which came to power in 1917, found out, this proved impossible. Instead, the taxpaying qualification was abolished in connection with the 1918-1921 constitutional reform, which also gave women the vote and limited the poor relief voting restriction to those permanently receiving support. In sum, the 1909 franchise reform did not constitute a sharp divide between the old system of income and property qualifications and twentieth century democracy. There was a clear continuity with the former system, in which you earned the right to vote by fulfilling your obligations. The 1909 reform did not lead to universal suffrage for men. Instead, it should be regarded as an intermediate stage in the development towards universal suffrage. Property and income qualifications for voters were abolished, but new qualifications and new mechanisms for exclusion were introduced instead. In this respect, Sweden was not unique. Before adopting universal suffrage, many countries combined universal suffrage with various voting restrictions. In Sweden, however, the right to vote came with an unusually large number of conditions.

Research on the American residential garage from 1900 to 1940 has demonstrated that the following factors impacted garage design: the practical demands of the automobile, architectural styles, placement on a lot, and the socio-economic status of the garage builder. The shape and function of garages were dictated by the maintenance requirements of automobiles and the fire hazards associated with early cars. Architectural styles affected garage design by influencing the materials, roof shapes, and door designs of a given garage. These effects were more evident in garages designed to match an individual house. Catalog garages were shaped by current architectural styles, but these garages were simpler in order to be compatible with a wide range of house styles. Garage placement affected several aspects of garage design including amenities such as electricity and plumbing. Placement was also determined by external factors such as lot size and local zoning regulations. The socio-economic status of a homeowner molded a garage's appearance significantly. Economic considerations impacted garage design by resulting in anything from a simple wooden box with a roof to a two-story brick garage with an apartment.
Department of Architecture

This thesis examines the creation, transmission and preservation of the idea of Britain as a 'maritime nation' on film from 1900 to 1960. By placing an analysis of maritime films' frequency, content and reception into the broader maritime sphere and the British film industry, this thesis explores how maritime symbols functioned to project national identity. Films are used as the major source to provide an evidential frame through which to assess the depth and functioning of maritime culture in mass culture. The thesis traces the origins of key concepts associated with a maritime identity to establish the configuration of maritime history in popular culture by 1900. It then examines the importance of maritime film production during the period 1900-1939; the representation of shipbuilding from the 1930s; maritime scenarios in Second World War film; maritime comedies; and post-war maritime films. It concludes by suggesting the reasons for the decline in the frequency of maritime film after 1960. The thesis argues first, that the relationship established in the Victorian period between the nation and the maritime sphere endured with remarkable strength. Only after 1960 was the contemporary element of this connection broken by a combination of the decline of the subject matter and by political and social change. The second argument is that to understand these films it is essential to consider them as a complete body of evidence as well as individual films in discrete time periods. By setting these films back into the tradition from which they came is it possible to understand how symbols of national identity became so embedded that they became unquestioned: the most powerful level at which such symbols operate.

Murals are a highly prominent aspect of Los Angeles present day. The purpose of this study is to investigate the history and cultural production of early murals in greater Los Angeles, many of which still exist within interiors of old commercial and public buildings, together with a few external political murals from the 1930's. Little of this period has been previously documented and the scope of the study includes a short general history of American mural painting preceding the main period of focus which presents a survey of mural painting in the city from origin c.1900, and develops on the patrons and artists aligned with the city's history and political unrest prevalent in the United States throughout this period. My main conclusions revealed that unlike other cities in the U.S., Los Angeles does not have a history of Beaux-Arts murals; rather the mural movement sprang from the rapid development, commercialization and capitalization of the city from c.1900 to the late 1920's. During the Great Depression, the federal government took over sponsorship of the arts, and because capitalism as an economic system appeared to have failed, many artists became politicized; furthermore Mexican artists Rivera, Siqueiros and Orozco strongly influenced many American artists during the 1920s and 30s, aesthetically and politically. Among the issues the thesis examines in some depth includes the development over these Los Angeles years of the methods by which mural art was integrated into particular locations and the identities of public and private architectural formations. This establishes the collaboration between artists and architects and the way that some architects decided to push hard for its continuation, with artists devising a wealth of contrasting images. There is the expansion of urbanism, together with huge commercialization and the examination of creative street art. With the roots of the Depression the role of the state is identified and discussed, together with its major effects on Los Angeles mural artists, the role of various artists also identified together with a deep exploration of political convictions and their problematic outcomes. This is a marker on the way this inner city and its suburbs formed, and is original in displaying the visual terms of Greater Los Angeles and its mural outcomes in the first half of the twentieth century.

Orientador : Maria Carolina Boverio Galzerani
Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: Este trabalho focaliza sensibilidades relativas ao corpo que perpassam o cotidiano urbano de uma cidade do interior do estado de São Paulo, então conhecida por Bragança, em fins do século XIX e nas duas primeiras décadas do século XX. Na busca de tais sensibilidades atentou-se para visões de civilização, de privacidade e de individualismo, porque estas tendem a balizar o imaginário de uma época, identificada por modernidade. Considerou-se que tais visões estão ancoradas em idéias liberais, positivistas e românticas e que estas, por sua vez, são perpassadas pela emergência de novas práticas de leitura. Periódicos e fotografias foram tomados como fontes privilegiadas da pesquisa. As contribuições teóricas de Peter Gay, Michel Foucault e Walter Benjamin foram fundamentais para este trabalho
Abstract: This research looks for relative body sensibilities that pass by every day urban life of one countryside city in the State of São Paulo, then known as Bragança, in the ends of 19th century and the two first decades of 20th century. Searching such sensibilities we attempted to delimit those views of civilization, privacy and individualism, because those tend to mark out with the imaginary of that time, identified as modernity. It was considered that such views are anchored at liberal ideas, positivists and romantics and those, in turn, are pass by the emergency of new practical of reading. Periodics and photographs had been taken as privileged sources for this research. The theoretical contributions of Peter Gay, Michel Foucault and Walter Benjamin were so important for this research
Doutorado
Educação, Conhecimento, Linguagem e Arte
Doutor em Educação

Tese de Doutoramento em História Contemporânea Institucional e Política de Portugal
Esta dissertação de doutoramento analisa o jornalismo político, praticado pelo jornal republicano O Mundo, no início do século XX. A historiografia política que recai sobre a crise da monarquia liberal tende a valorizar o papel imprensa, mas esta nunca foi objeto de um estudo autónomo. A imprensa diária republicana tende a ser associada a outras formas de divulgação da atividade e do ideário republicano (folhetos, conferências, livros, comícios, banquetes, etc.), autonomizando-a do jornalismo político da sua época (pelo seu conteúdo e pela sua forma). O presente estudo insere o jornal político republicano radical O Mundo no seio das práticas jornalísticas da imprensa diária de Lisboa. A nossa análise forçosamente comparativa procura responder a várias questões. Qual o lugar ocupado pela imprensa no conjunto das instituições políticas vocacionadas para o debate? O que distinguia o jornalismo diário da restante imprensa? O que distinguia o jornalismo político praticado pelos jornais apartidários e partidários? Como se processa e modela (controlos formais e informais) o debate político jornalístico? Que conceções de debate político estavam presentes no jornalismo diário de Lisboa? Qual o lugar da informação no debate jornalístico? Como se viabilizou o jornalismo radical no início do século? Qual a dependência das estruturas partidárias? E, por fim: quais as práticas jornalísticas que distinguiam o jornal O Mundo da restante imprensa? Concluímos que a imprensa diária, pela sua vocação para a atualidade informativa, interveio de forma continuada no debate político. Porém, na ausência de um jornalismo informativo que reclamasse o papel de interlocutor junto dos protagonistas políticos destacámos o lugar do jornalismo político partidário no debate jornalístico. Salientámos, ainda, o cultivo de limites políticos informais, na imprensa diária político partidária, por via de um conjunto de convenções jornalísticas, que tendiam a preservar a “ legitima” distância dos protagonistas políticos, bem como a partidarização do debate. A este propósito referimos a valorização partilhada do boato - informação não confirmada – e ainda a dificuldade em impor o novo género, a entrevista. A imprensa republicana radical distinguiu-se pela capacidade de alargar o âmbito da informação política e com ela o debate sobre a atualidade. Destacamos aqui o lugar das práticas de reportagem. Os jornais republicanos radicais apropriaram-se do modelo dominante de debate político jornalístico transfigurando-o, quer alargando o âmbito da participação política, quer introduzindo nova controvérsia política, em torno da questão do regime, da questão social e da democracia. Tudo leva a crer que coube ao jornalismo republicano radical, de forma isolada e excêntrica, a defesa e divulgação, de um modelo de debate político alternativo, de teor democratizante, concorrencial e mais inclusivo.