Dissertations / Theses on the topic 'Second 19th century'

This dissertation will attempt to present the foundations of the positivist philosophy and worldview. It will also attempt to show the spread of Lithuanian positivism in the context of the dominant positivism of Russia and Poland, and to thoroughly examine the exploration and interpretation of positivism in the mind of Lithuanian fictional literary criticism. This study raises the question as to whether one can in general speak of the adoption of certain models of literature from didactic literature to positivist literature. Aside from discussing different time periods and different literary styles of the nineteenth century (the beginning of Lithuanian didactic literature, while the Lithuanian Cultural Renaissance was still in its embryonic stage; the maturation of didactic literature and the beginning of the Lithuanian Cultural Renaissance; and positivist literature as well as Lithuania's Cultural Renaissance in full force) this work also discusses the pieces having the characteristics of the positivist literature written during the prohibition of the press. The work will also attempt to explain what positivist personalities were significant during the second half of the nineteenth century, and to what professional and social groups these people belonged, along with reconstructing their aesthetic positivist program. This dissertation about the spread of positivism in the prose from the end of the nineteenth century is the first of its kind done in Lithuanian literary... [to full text]<br>Disertacijoje pristatomi pozityvizmo filosofijos ir pasaulėžiūros pagrindai, nagrinėjama lietuviškojo pozityvizmo sklaida Lenkijoje ir Rusijoje vyravusio pozityvizmo kontekste, nuosekliai apžvelgiamas pozityvizmo paieškų ir interpretavimo kelias lietuvių grožinės literatūros kritinėje mintyje. Studijoje keliams klausimas, ar apskritai galima kalbėti apie literatūrinių modelių perimamumą (didaktika  pozityvizmo literatūra), šalia pasirinktų skirtingų krypčių, skirtingo laikotarpio atraminių kūrinių (atstovaujančių lietuvių didaktinės literatūros pradžiai ir Atgimimo užuomazgoms; didaktinės literatūros brandai ir Atgimimo pradžiai; pozityvistinei literatūrai ir Atgimimui) aptariami ir spaudos draudimo laikotarpio pozityvistinių bruožų turintys kūriniai, aiškinamasi, kaip XIX a. pabaigos lietuvių literatūroje veikia personažai pozityvistai, kokioms jie priklauso profesinėms / socialinėms grupėms, rekonstruojama jų estetinė pozityvistinė programa. Disertacija apie pozityvizmo sklaidą lietuvių XIX a. pabaigos prozoje yra pirmoji tokio pobūdžio studija lietuvių literatūrologijoje. Išsami pozityvistinės gyvenimo sampratos programa Lietuvoje nebuvo suformuluota, tačiau ją galima rekonstruoti iš teiginių ir minčių, išsisklaidžiusių literatūros ir kultūros darbuotojų publicistiniuose, kritiniuose, sociologiniuose darbuose, o šio tyrimo atveju – grožinės literatūros kūriniuose. Disertacijoje siekiama nuosekliai apžvelgti ir apibendrinti pavienius pasisakymus ir įžvalgas pozityvizmo... [toliau žr. visą tekstą]

Defence date: 29 May 2020 (Online)<br>Examining Board: Prof. Youssef Cassis (EUI, Supervisor); Prof. Andrei Markevich (NES, Moscow, External Advisor); Prof. Alexander Etkind (EUI); Prof. Tracy Dennison (Caltech)<br>In recent years, there has been an explosion of literature about material inequality and the historical linkages between socio-economic disparities and inheritance strategies. These studies mainly focus on Western Europe and North America, while histories of personal wealth in the Russian Empire are underrepresented. My dissertation investigates the role of social stratification and private property rights in the accumulation and redistribution of personal wealth among the Russian urban population. I particularly focus on guild merchants during the second half of the nineteenth century. I have examined this group because merchants straddled social estates (as defined by law), class (as defined by socio-economic activity) and most were successful in the accumulation of personal assets. In investigating the membership books of Moscow guild merchants, last wills, inheritance valuations, wardships, and other sources, I show that guild merchants successfully managed low social and economic appreciation of mercantile agency imposed by the authorities and were able to accumulate wealth. The moderate, yet stable, number of guild merchants was the result of a fledgling internal market rather than ineffective business practices. The proportion of transmitted inheritances to the Gross National Product was low (4 percent), which suggests that inheritances benefitted the lives of urban Muscovites, but only moderately. The social inequality of wealth distribution was high (150 times between honorary citizens and artisans in Moscow in 1892), though between 1888 and 1908 the number of testators in the Russian Empire increased two times and value of transmitted inheritances increased by 12 percent. Excluding guild merchants, the rest of the urban population preferred single universal inheritance transmission. Guild merchants, however, chose more egalitarian, gender-neutral bequeathing patterns which lowered successor’s future income uncertainty. The variations and shifts in bequeathing patterns suggest that the less egalitarian inheritance strategies (embraced by the majority of the urban population) were balanced by higher value inheritances among guild merchants which applied more egalitarian inheritance strategies. As a result, the level of material inequality was likely moderate in comparison to other countries, and the urban population was less destitute than previously described in other studies. Thus, my research contributes to the existing literature by providing empirical evidence and accurate estimations of the levels of personal wealth along social and geographic lines in late Imperial Russia.

Sous Napoléon III, les pièces théâtrales représentant la thématique de l’argent et de la finance remplissent les répertoires parisiens (comédies, vaudevilles, drames, opérettes, mélodrames ou parodies). Plusieurs dramaturges tels que Ponsard, Dumas fils, Augier, Labiche, Clairville, Lubize ou Sardou portent sur scène la question du gain et de l’affairisme en s’intéressant à toutes ses composantes matérielles, juridiques, morales ou sociales : héritage, mariage d’intérêt, dot, mésalliance, affaires spéculatives, jeux d’argent, cupidité et avarice, exploitation et misère. Comment justifier une telle profusion dramatique ? La situation socio-économique (essor industriel, création et développement du système ferroviaire et bancaire) ainsi que les décisions politiques prises dans le domaine culturel (décret du 6 janvier 1864 sur la libéralisation des théâtres) ont-elles une influence sur la production théâtrale à cette période ? L’obsession de l’argent dans les pièces de théâtre s’expliquerait-elle par l’importance des enjeux économiques de la scène ? Notre étude cherchera à apporter un éclairage sur l’argent du théâtre (dans l’institution théâtrale et dans la vie des spectacles à travers l’étude du rapport de l’acteur, de l’auteur et du directeur à cette question) et sur l’argent au théâtre (traitement thématique, dramatique, linguistique et scénique de cette problématique). De nouveaux prismes, comme celui de la censure impériale, seront également sollicités afin de saisir d’autres dimensions de cette question et de voir s’il existe une sévérité censoriale particulière à l’égard de cette thématique de l'argent<br>Under the reign of Napoleon III, theatrical plays representing the theme of money and finance fill the parisian repertoires thanks to numerous comedies, vaudevilles, dramas, operettas, melodramas and parodies. Several playwrights such as Ponsard, Dumas fils, Augier, Labiche, Clairville, Lubize or Sardou take on stage the question of gain and business by taking an interest in all its material, legal, moral or social components : inheritance, marriage of interest, dowry, misalliance, speculative affairs, gambling, greed, exploitation and misery How to justify such a dramatic profusion ? The socio-economic situation (industrial development, creation and development of the rail and banking system), as well as the political decisions taken in the cultural field (decree of January 6, 1864 on the liberalization of theaters) did they influence theatrical production at this period ?Our study will seek to shed light on the money of the theater (in the theatrical institution as well as in the life of the shows through the study of the report of the actor, the author and the director to this question) and on money in the theater (thematic, dramatic, linguistic and scenic treatment of this problem). Could the obsession with money in plays be explained by the importance of the economic of the stage ? New prisms - imperial censorship for example - will also be sought in order to grasp other dimensions of this issue and to question the existence of political opposition to these representations

L’architecture théâtrale en France de la Révolution au Second Empire :théorie, innovation, réglementation, réalisationsA l’avènement de la Révolution, la France connait en termes d’architecture théâtrale une période particulièrement foisonnante. L’impulsion donnée sous Louis XV au théâtre porte ses fruits et la société manifeste pendant les dernières décennies du XVIIIe siècle, et ce malgré l’opposition de l’église, un engouement prononcé pour le spectacle, appelé plus tard théâtromanie. Tout au long du XIXe siècle, le théâtre occupe une place privilégiée dans la vie culturelle et sociale de la France. L’édifice théâtral sert alors à cristalliser les aspirations des différents publics qui le fréquentent et fait l’objet de multiples réflexions, aussi bien du point de vue théorique que dans le domaine de l’innovation. Etant parmi les rares bâtiments civils à accueillir un public aussi nombreux et diversifié, il devient également un lieu privilégié d’expérimentation, en termes de salubrité et de systèmes techniques.Les nuisances qui accompagnent son implantation dans la ville et les multiples incendies qui détruisent différents théâtres à travers l’Europe conduisent aux instances au pouvoir à réglementer, de plus en plus, le fonctionnement des théâtres jusqu’à émettre des préconisations qui ont à trait à la configuration même de son cadre bâti.Ainsi, l’architecture théâtrale de la première moitié du XIXe siècle revêt plusieurs facettes qu’il était nécessaire d’explorer afin de comprendre ce qui contribue à modeler l’image du théâtre « à la française » dont l’Opéra de Paris devient le plus haut représentant en France comme à l’international<br>Theatre architecture in France fromFrench Revolution to Second Empiretheory, innovation, legislation, constructionAt the dawn of the Revolution, a vague of theatrical constructions embraces France. The impulse which had been given under Louis XV to theatres bear now fruit. Furthermore, despite the opposition of the Church, the French society expresses a real enthusiasm for spectacles that one will later call “theatremania”. During the whole nineteenth century, theatres occupy a privileged position in the cultural and social life in France. The theatrical buildings contribute to crystallize the ambitions of the attended public. By consequence, theatres are an object of thinking, weather it is on the level of architectural theory, or on the level of innovation. Representing a typology of public buildings which host a very numerous and a very diversified public, the theatre becomes a privileged space of experimentation, in terms of public health as well as in terms of techniques. The noise pollution which accompanies its integration within the city, and the numerous fires that destroy a lot of theatres across Europe, lead the public administration to regulate more and more the functioning of theatres, to a point that these new regulations have an enormous impact on the architectural development of theatres.In this context, the theatrical architecture of the first half of nineteenth century takes several aspects which this work explores in order to illuminate the rise of the so-called theatre « à la française », of which Garnier’s Opéra de Paris will become the most prominent example

La science, tout à la fois pure et appliquée, advient en remplacement de l'ancienne philosophie naturelle, à l'heure où se déploient en France les prémices de la seconde industrialisation. Le prestige de la science nouvelle se diffuse par des voies divergentes: les expositions universelles, la libre-pensée, la vulgarisation, les beaux-arts, l'enseignement, la législation technique. . . Cette réorganisation théorique et pratique de la connaissance s'effectue en lien extrêmement étroit avec les structures de l'industrie: les scientifiques proposent désormais, à partir d'études circonstanciées des savoir-faire artisanaux, des procédures reproductibles permettant d'assurer la bonne marche de la production. Parée de toutes les vertus, l'institution science verrouille idéologiquement toute possibilité d'inflexion du modèle progressiste qui fonde la IIIe République et selon lequel toute opposition aux transformations environnementales, technologiques et sociales en cours est dangereuse politiquement car passible d'une volonté réactionnaire d'un retour en arrière. Les résistances profanes à la science devenue sacrée sont alors exclues du champ politique car jugées erronées, tout comme le sont les opinions des religieux qui imaginaient pouvoir opposer la Bible à Galilée. L'important n'est alors pas d'essayer de définir épistémologiquement la science, mais bien davantage d'assumer le fait que cette institution est par essence contradictoire en elle-même (puisque issue d'un compromis au sein du social): toute tentative visant à la théoriser en tant que concept unifié et anhistorique ne fait que rejouer les enjeux propres aux circonstances qui l'ont vu naître<br>"Modern science", being both pure and applied, emerges in France at the very beginning of the second industrialization, and replaces the prior "natural philosophy". Its prestige expands through various activities: World fairs, freethinkers, popular science, arts &amp; literature, school, patent rights. . . This practical and theoretical reorganization of knowledge , is firmly connected to the structure of industrial production: scientists study in details craftsmen's "know-how" to create reproducible procedures for manufacturing. Reputed neutral and objective, science ideologically binds the progressive base of the French Third Republic: thereafter, any opposition to environmental, technological or social changes catalysed by this new regime is treated as a dangerous attitude hiding reactionary thoughts secretly rooted in a backward political agenda. Secular resistance to sacred science is subsequently considered inaccurate and excluded from the political sphere, in the same way as the religious beliefs Galileo battled with are mocked as false. Therefore, science must not be any more considered as an epistemological question, but rather as a intrinsically contradictory institution (since it is issued from a social compromise): attempts to theorize it as unified and non-historical concept always trigger the same conflicts that prevailed to its birth

Genre prestigieux héritier d’une longue tradition, la peinture d'histoire connaît de multiples évolutions tout au long du XIXe siècle. Sous le Second Empire, régime longtemps affecté par sa « légende noire », ce genre restait encore à définir. Il présente des caractéristiques qui l’inscrivent véritablement dans son siècle, tout en lui conférant une originalité : émanation de la peinture d'histoire et de ses mutations dans la première moitié du siècle, précurseur de sa reformulation sous la Troisième République, la peinture d'histoire sous le Second Empire est marquée par la singularité. L’étude des représentations de l’histoire peintes entre 1860 et 1870 en est révélatrice. D’emblée, la corrélation entre les créations et le terme même de « peinture d'histoire » pose question. En effet, tout en se maintenant dans un sujet classique (historique), ces « peintures à sujet historique » se rapprochent tour à tour de la peinture de genre et du genre historique, et sont contaminées par le réalisme et le goût de la couleur locale. Si l’expression académique de « peinture d'histoire » convient encore à la peinture de bataille, cette dernière subit aussi les assauts de la modernité et connaît une mutation sous la forme spécifique de la peinture militaire. La démarche des peintres de sujets historiques présente des récurrences. Un important travail préparatoire, à partir de textes, de sources voire de découvertes archéologiques, est mis au service de reconstitutions positivistes des événements, permettant de susciter l’intérêt du public. Le choix des sujets varie selon les intentions : édifier le spectateur, montrer un passé idéalisé utilisé comme répertoire de sujets émouvants, ou encore exposer une idéologie. Au-delà de la dimension historiciste d’éducation par le passé national, ces œuvres donnent à voir un certain état de la pensée historique, des principaux courants d’idées qui ont influencé les peintres. Plus encore, ces derniers véhiculent et diffusent une conception de l’histoire qui rejaillit sur leur présent par l’intermédiaire de la presse et de l’illustration, et ils contribuent ainsi à construire l’image qui va s’ancrer dans les mémoires. Support traditionnel de propagande et de « fabrication » du pouvoir, la peinture d’histoire conduit à se poser la question des pratiques culturelles du gouvernement du Second Empire. L’instrumentalisation de l’image par l’État est réelle, mais se cantonne aux peintures de bataille et aux figurations du faste impérial. Napoléon III, dans sa politique d’acquisition, s’adapte aux créations plus qu’il ne les génère. En revanche, il exerce une influence indirecte : la mise en scène de sa personne, du couple impérial et de ses goûts historiques, offre une série de thèmes exploités par les peintres. La peinture à sujet historique n’est pas instrumentalisée dans le cadre des envois de l’État. Les élites locales jouent un rôle essentiel dans le développement de ce genre : municipalités et Sociétés savantes, édiles et érudits encouragent les créations sur l’histoire nationale ou locale. La représentation de l’histoire entre 1860 et 1870 donne à voir la place primordiale de l’histoire, dans ses aspects savants et populaires, à échelle nationale et locale, inspirée par le sentiment d’attachement à la « petite patrie » comme à la nation<br>Prestigious genre, heir to a long tradition, the history painting experiences multiple evolutions throughout the 19th century. Under the Second Empire, for a long time a regime marked by its "black legend", the genre still remained to be defined. Its characteristics fix it deeply in its century, while conferring it an originality : an emanation of the history painting and its transformations in the first half of the century, a precursor of its reformulation under the Third Republic, the history painting under the Second Empire is marked by its singularity. The study of the representations of history painted between 1860 and 1870 is revealing there. Straightaway, the correlation between the creations and the term of "history painting" raises questions. Indeed, while remaining in a classic subject (history), these "paintings on historic subject" get closer alternately to the genre painting and the historic genre, and are contaminated by the realism and the interest in the local colour. If the academic expression of "history painting" still suits for the painting of battle, the latter is also touched by the modernity and transformed into military painting. The approach of the painters of historic subjects presents recurrences. An important preparatory work, on texts, sources, even archaeological discoveries, is put in the service of positivist reconstructions of the events, in order to raise the interest of the public. The choice of the subjects varies according to the intentions: educate the spectator, show an idealised past used as directory of moving scenes, or develop an ideology. Beyond the historicist dimension of education about the national past, these pieces of art show a certain state of the historic thought, the main currents of ideas that influenced the painters. Moreover, the latter convey and spread a conception of history that reaches the contemporary through the press and the illustration, and so they contribute to build the image that will be anchored in the memory. A traditional mean of propaganda and "manufacturing" of the power, the history painting raises the question of the cultural practices of the government of the Second Empire. The instrumentalisation of the image by the State is real, but is restricted to the paintings of battle and of the imperial splendour. Napoleon III, in his acquisition policy, adapts himself to the creations more than he generates them. On the other hand, he exercises an indirect influence: the staging of his person, the imperial couple and its tastes in history, offer a series of themes exploited by the painters. The painting of historic subject is not instrumentalised within the framework of the envois of the State. The local elites play an essential role in the development of this genre: municipalities and Learned societies, town councillors and scholars encourage creations on national or local history. The representation of the history between 1860 and 1870 reveals the essential place of history, in its erudite and popular aspects, on a national and local scale, inspired by the feeling of attachment to the "small homeland" as well as the nation

La représentation du désir sexuel féminin dans le roman de mœurs du second XIXe siècle soulève des enjeux cruciaux : elle fait apparaître les paradoxes d’un second XIXe siècle écartelé entre des visions des femmes contradictoires, créatures hantées par la sexualité ou vierges-mères ; elle nous renseigne sur les processus de construction des genres masculins et féminins ; elle nous fait réfléchir aux scandales d’hier et d’aujourd’hui que suscitent le corps féminin désirant et les regards portés sur lui ; elle interroge la poétique de ce genre littéraire et ses prétentions à l’objectivité. Nos romans ambitionnent de tout dire du réel, revendiquant une rationalité scientifique. Et pourtant, ils se livrent lorsqu’ils abordent le désir féminin à un voilage stylistique, exigeant du lecteur un travail de décodage. Nous avons entrepris d’analyser ce voile de mots qui recouvre les corps féminins, afin de percer les ressorts de cette mauvaise foi. La méthode sociocritique permet de montrer les interactions entre nos romans et les différents discours sociaux de leur temps (médicaux, religieux, juridiques ou encore pédagogiques), et ainsi de faire apparaître un imaginaire social complexe et cohérent du désir féminin, dont le roman tout à la fois reconduit et déjoue les stéréotypes. Dans les textes littéraires, les théories scientifiques se muent en matériau poétique, et le double-sens devient un véritable art. Ces représentations érotiques obliques font des descriptions du désir féminin un terrain miné de sous-entendus, élaboré le plus souvent par et pour des hommes. Certains romans ménagent toutefois déjà une place à une parole et à un regard de désir au féminin, voire par-delà le genre<br>The representation of female sexual desire in the novel of manners of the second half of the 19th century raises critical issues – it highlights the paradoxes at play in the second half of the 19th century, torn between contradictory representations of women, as either sexually haunted creatures or virgin mothers ; it informs us about the construction of masculine and feminine gender roles ; it makes us reflect on the scandals, past and present, caused by the desiring female body and the gaze cast upon it ; it interrogates the poetics of this literary genre as well as its claims to objectivity. The ambition of the novels analysed here is a comprehensive account of reality, with a claim to scientific rationality. And yet, when they deal with female desire, they indulge in a form of stylistic veiling that requires the reader to unpack the meaning. The purpose of this thesis was to analyse this veil of words covering female bodies, in order to lay bare the mechanisms behind the mendacity. The socio-critical method makes it possible to show the interactions between the novels and the various social discourses of their time – medical, religious, legal or even pedagogical – and thus to reveal a complex and coherent social imagery of female desire, whose stereotypes the novel both upholds and thwarts. In literary texts, scientific theories morph into poetic material, and double entendre becomes an art. These oblique erotic representations turn the descriptions of female desire into a minefield of innuendo, mostly developed by and for men. Some novels, however, already make room for a female voice and gaze of desire, sometimes even beyond gender

Disertacijos tyrimo objektas – šventadienė prijuostė, tradicinio liaudies kostiumo dalis, kuri pristatoma ne tik kaip drabužis, bet kaip sąlyginai savarankiškas daugiaplanis kultūros objektas, tapęs etninių tradicijų ir tautinės savimonės raiškos simboliu. Tyrimo laikotarpis – XIX a.–XX a. pirmoji pusė. Tai pirmasis mokslinis darbas, nuosekliai atskleidžiantis procesą, kaip prijuostė, prarasdama savo pirminę paskirtį, XX a. pirmojoje pusėje įgavo naują prasmę ir tapo tautiškumo simboliu, reprezentantu ne tik Lietuvoje, bet ir užsienyje. Darbe analizuojami iki šiol sistemingai netyrinėti XIX a.–XX a. pirmosios pusės šventadienių prijuosčių (taip pat prijuostėlių) rinkiniai Lietuvos ir kitų šalių (Baltarusijos, Lenkijos, Prancūzijos) muziejuose. Tyrimo metu užsienio šalių muziejuose surastos ir identifikuotos lietuvių šventadienės prijuostės yra vertingas ne vien šių muziejų, bet ir visoje Lietuvoje turimų šios rūšies liaudies tekstilės dirbinių fondo papildymas. Atsiranda galimybė įvertinti šventadienės prijuostės meninės raiškos formas, atlikimo technikų ir medžiagų ypatumus, kurių visumą kaip svarbų šaltinį galima pritaikyti tradicinių liaudies drabužių rekonstravimo darbų praktikai ir tautinio kostiumo studijoms. Atliktas tyrimas aktualizuoja prijuostės sociokultūrinės raiškos aspektus, leidžia giliau pažinti jų meninės formos bruožus, gali pasitarnauti kaip svarbi medžiaga lyginamosioms lietuvių liaudies meno studijoms, tolimesniems Lietuvos kultūros tyrinėjimams.<br>This doctoral dissertation analyses a part of the traditional folk costume – festive apron – which is presented not only as a garment, but also as a relatively independent and multidimensional cultural object, and a symbol of ethnic traditions and expressions of national identity. The research covers the period from the 19th century through the early 20th century. It is the first research systematically revealing the process of the apron losing its originally intended use and being given a new meaning in the first half of the 20th century, concurrently becoming a symbol and representative of national identity not only in Lithuania but also in foreign countries. The thesis analyses collections of festive aprons (including votive aprons) of the 19th century and the first half of the 20th century available in Lithuanian and foreign museums that have not been previously analysed on a systematic basis. Lithuanian festive aprons identified in foreign museums during the research are valuable supplementation not only to the holdings of these museums, but also to the fund of folk textiles of this type available in Lithuania. This provides an opportunity to assess the forms of artistic expression, the peculiarities of weaving techniques of, and the fabrics used for, festive aprons which, in their entirety, can be used as an important source for reconstructing traditional folk clothing and for studies of the national costume. The research actualises the aspects of socio-cultural... [to full text]

La France est-elle, comme l’écrivait le fondateur de l’École libre des sciences politiques Émile Boutmy en 1901, plus inclinée par son histoire à réclamer la « tutelle de l’État » que son voisin britannique ? Si ce lieu commun a la vie dure, c’est essentiellement parce que des libéraux anglophiles au XIXème siècle, particulièrement lors de leur opposition au Second Empire, ont nourri et documenté une certaine admiration pour ce qu’ils considéraient comme un modèle britannique, dont les mœurs libérales seraient plus profondément ancrées, et dont il conviendrait de s’inspirer pour atteindre une forme de maturité politique. Au-delà des apparences, il s’agit de comprendre que le libéralisme français fut l’objet d’une construction croisée, entre influences transnationales et hybridations nationales, tout particulièrement des années 1860 aux années 1920, lorsque s’affirme une culture libérale-républicaine ; comment les libéraux français ont-ils travaillé à cette transition constitutionnelle, partisane, culturelle appelée de leurs vœux, quelles furent leurs réussites et leurs échecs face à d’autres aspirations concurrentes, et dans le cadre de sociétés contemporaines en pleines mutations politiques et sociales ? À travers une grille d’analyse franco-britannique, c’est un ensemble de transferts culturels autour du libéralisme qui sont à redécouvrir, afin de mieux connaître les étapes charnières du développement du régime qu’est la démocratie libérale<br>Is France, as the founder of the École libre des sciences politiques Émile Boutmy wrote in 1901, more inclined by its history to demand “state supervision” than its British neighbor? If this commonplace dies hard, it is essentially because Anglophile liberals in the 19th century, particularly during their opposition to the Second Empire, nurtured a certain admiration for what they considered to be a British model, with a deeply rooted liberal culture, and from which it would be appropriate to be inspired in order to reach a form of political maturity. Beyond appearances, the aim is to understand that French liberalism was the object of a cross-construction, between transnational influences and national hybridizations, particularly from the 1860s to the 1920s, when a liberal-republican culture asserted itself; how did the French liberals work for this constitutional, partisan, cultural transition called for, what were their successes and failures in the face of other competing aspirations, and within the framework of changing contemporary societies in political and social spheres? Through a Franco-British perspective, it is a set of cultural transfers around liberalism that are to be rediscovered, to better understand the development of the regime that is liberal democracy

Entre le début du XVIIIe siècle et la fin du Second Empire, la côte continentale du Pertuis Breton connaît une évolution significative. Elle est constituée de trois paysages géomorphologiques singuliers, dynamiques et corrélés : un territoire marécageux, une zone dunaire et une côte à falaises. Ces milieux subissent des transformations naturelles lentes à l’origine de la constitution des flèches sableuses d’Arcay et de l’Aiguillon qui forment un grand cordon dunaire. Celui-ci est alimenté par un transport considérable des sables de l’ouest vers l’est par dérive littorale. Ces mouvements de sédiments sont soumis à l’influence d’agents hydrodynamiques. La remontée des eaux de l’océan entraîne le colmatage progressif du golfe des Pictons par des apports de sédiments d’origine fluvio-marine. Ce processus est à l’origine de la formation de l’anse de l’Aiguillon et du Marais poitevin. Ces milieux subissent également des transformations naturelles brutales dues à des phénomènes climatiques extrêmes. Cette étude met aussi en lumière la part de l’influence humaine dans l’évolution et la modification de leur trait de côte. Les aménagements sont particulièrement visibles dans le Marais poitevin. Entre le Moyen Âge et le XIXe siècle, ce territoire est l’enjeu d’une grande transformation qui modifie largement son écosystème. Cette zone humide est drainée par l’instauration de canaux, de digues et d’écluses. Grâce aux dessèchements réalisés par les sociétés des marais, l’agriculture et l’élevage connaissent un essor considérable et remplacent progressivement ces terres inondables réputées insalubres. Les marais connaissent alors un afflux de population. L'Etat est présent sur ce littoral par l’intermédiaire des Amirautés sous l’Ancien Régime ou de l’administration des Ponts et Chaussées au XIXe siècle<br>Between the beginning of the 18th century and the end of the Second Empire, the continental coast of the Pertuis Breton experienced a significant evolution. It is composed of three singular, dynamic and correlated geomorphological landscapes: a marshy area, a dune zone and a cliff coast. These environments underwent slow natural transformations which led to the creation of the sandy spits of Arcay and Aiguillon which form a large dune belt. The latter is fed by a considerable transport of sand from west to east by littoral drift. These sediment movements are subject to the influence of hydrodynamic agents. The rise in oceanic waters leads to the progressive clogging of the Gulf of the Pictons with sediment of fluvio marine origin. This process is at the origin of the formation of the Aiguillon Cove and the Poitevin Marsh. These environments also go through brutal natural transformations due to extreme climatic phenomena. This study also highlights the role of human influence in the evolution and modification of their coastline. Developments are particularly visible in the Marais Poitevin. Between the Middle Ages and the 19th century, this territory was the focus of a major transformation that greatly modified its ecosystem. This wetland was drained by the creation of canals, dykes and locks. Thanks to the draining carried out by the marsh companies, agriculture and livestock farming flourished and gradually replaced the flooded lands, which were considered unsanitary. The marshes then experienced an influx of people. The State is present on this coastline through the Admiralty under the Ancien Régime or the administration of the Ponts et Chaussées in the 19th century

Le Salon caricatural est le compte rendu comique composé de charges d’œuvres d’art exposées au Salon. Les premiers Salons caricaturaux apparaissent au début des années 1840, et c’est sous le Second Empire que ce genre de revue parodique atteint son apogée, obtenant un succès dans la presse satirique illustrée. Sous prétexte de faire rire, cette critique en images met en œuvre un moyen efficace de juger l’art, qui fonctionne en contrepoint de la critique d’art écrite. Les enjeux critiques que propose cette imagerie comique s’inscrivent en fait comme découlant des discussions sur les rapports entre l’image et le texte, ainsi que le révèlent les trois modèles de 1846. Sensibles à l’actualité artistique, les dessinateurs du Salon caricatural jouent souvent un rôle multiple, tantôt celui du railleur inoffensif, tantôt celui du critique sérieux, tantôt encore celui de l’artiste exposant. Dans les revues parodiques se reflètent non seulement la réaction caractéristique du public bourgeois, mais parfois aussi le goût personnel et les jugements esthétiques des dessinateurs eux-mêmes vis-à-vis des œuvres d’art contemporaines. Face à un art en pleine transition durant le Second Empire, le Salon caricatural prend part d’une manière active à la réception de l’art par une formule sarcastique qui traduit à la fois le dégoût pour l’école classique en voie de déclin et le rejet des formes novatrices, notamment Courbet et son réalisme. Cette version drolatique et insolite de l’histoire de l’art fournit aussi une nouvelle perspective à l’histoire de la critique d’art<br>The Salon caricatural was a comic review consisting of caricatures of art works exposed at the Salon. The first Salons caricaturaux appeared in the early 1840s, and it was under the Second Empire that this type of parodic review reached its height, obtaining success in the illustrated satirical press. Under the pretext of humor, this critique in images provided an efficient method of judging art, working in counterpoint to written art criticism. The critical issues proposed by this comical imagery were in fact the products of debates on the relationship between image and text, as the three 1846 models reveal. Conscious of contemporary artistic currents in art, Salon caricatural cartoonists often played multiple roles; at times inoffensive mocker, at times serious critic, and at times exposing artist. These parodic reviews reflected not only the characteristic reaction of the bourgeois public, but also on occasion the personal tastes and aesthetic judgments of the cartoonists themselves with respect to contemporary works of art. With art in a major period of transition during the Second Empire, the Salon caricatural actively participated in the reception of art through a sarcastic format that translated both the distaste for the declining classical school and the rejection of innovative forms, notably those of Courbet and his realism. This humorous and peculiar version of art history also provides a new perspective to the history of art criticism

Le travail s'insère dans la vaste perspective des études sur les rapports entre la culture italienne et la culture française dans la seconde moitié du XIX siècle. En particulier nous avons pris en examen la période 1870-1883, c'est-à-dire les années de la conclusion de la guerre franco-prussienne, jusqu'à la crise diplomatique de Tunis (1881) et au passage de l'Italie à l'alliance politique et militaire avec l'Autriche et l'Allemagne. (1886). Dans la vaste production littéraire de De Amicis (connu presque seulement pour la publication de son roman Cuore), la France joue un rôle non secondaire, comme le témoignent le volume Ricordi di Parigi (1879) et le recueil Ritratti letterari (1881). Le but de notre recherche a été d'abord l'analyse approfondie de ces deux livres. Ensuite nous avons fait une enquête systématique sur l'ensemble de la production de De Amicis - en examinant pour la première fois plusieurs périodiques littéraires et politiques - où nous avons retrouvé beaucoup d'autres témoignages importants. En outre, grâce à l'étude de la biographie de De Amicis, nous avons reconstruit ses voyages et ses séjours en France (1873, 1878, 1880), et nous avons retrouvé le nom d'autres intellectuels français, avec lesquels De Amicis a établi des liens d'amitié et de collaboration. Enfin, à travers l'analyse de la correspondance privée de certains protagonistes de cet échange, nous avons acquis d'autres données. Nous avons ainsi mis à jour de nombreux témoignages de la remarquable réception en France des œuvres de De Amicis. Il a été beaucoup traduit en France et la critique française l'a considéré dès sa première œuvre (La vita militare, 1868) comme un des écrivains les plus importants d'Europe. Le bilan final de nos recherches confère à De Amicis un rôle très important dans les rapports entre la France et l'Italie, aussi bien au niveau culturel que politique

Les relations qui unissent le savoir scientifique et la poésie de la seconde moitié du XIXe siècle sont complexes. Longtemps fort minoré par l’histoire littéraire, le dialogue qu’entretiennent ces deux entités oscille entre modernité scientifique et modernités poétiques. Tour à tour conflictuelles ou fraternelles, ces modalités de dialogues multiples et contradictoires se révèlent pourtant symptomatiques d’une époque en crise vis-à-vis à la fois du genre poétique et d’un scientisme en voie d’essoufflement. L’analyse stylistique – systématiquement informée par le contexte de production – et l’épistémocritique permettent de rendre compte d’une histoire parallèle et longtemps éclipsée de la modernité : tandis que le poème moderne se proclame de plus en plus autonome, tandis que la science a tendance à se spécialiser au point de n’être plus transmissible, le dialogue de la science et de la poésie, loin de disparaître, se complexifie. Le poète ne se contente plus d’exposer thématiquement des éléments de savoirs, sur les modèles antérieurs de Lucrèce et Jacques Delille. L’influence de la science se fait plus profonde et plus structurelle : le poème emprunte sa langue savante pour exprimer les angoisses du sujet lyrique, la poétologie entre dans le laboratoire de l’expérimentation. Ce faisant, l’impact de la science sur le travail poétique, quoique souterrain, devient déterminant dans les reformulations innovantes de la poésie de la seconde moitié du XIXe siècle. Deux modernités s’observent alors, se détournent parfois l’une de l’autre, s’entrecroisent ailleurs. C’est l’histoire des modalités de cette cohabitation difficile que la présente étude a cherché à mettre au jour<br>The links between scientific knowledge and poetry during the second half of the 19th century are complex. Whereas literary history has downplayed its importance for a long time, the dialogue between those two entities wavers between scientific and poetic modernities. And yet, the multiple and contradictory forms of that dialogue, both conflictual and fraternal, turn out to be symptomatic of an era in crisis, where poetry as well as scientism seemed to be running out of steam. Stylistic analysis – systematically informed by the historical context – and epistemocritic allow to tell the parallel story of an hidden modernity: while the modern poem claims increasing autonomy, while science tends to specialize so much that it is no longer communicable, the dialogue between science and poetry, far from disappearing, becomes more complex. The poet is no longer satisfied with thematically exhibiting elements of knowledge, according to previous models of Lucretius and Jacques Delille. The influence of science becomes deeper and more structural: the poem borrows its scientific language to express the anxieties of the lyrical subject, poetics enters the laboratory of experimentation. As a result, the impact of science on poetical work, albeit underground, plays a determinant role in the innovative reformulations of the poetry of the second half of the 19th century. Two modernities then observe each other, sometimes turn away from each other, sometimes intersect. The story of this difficult cohabitation is what this study has attempted to uncover

Hippolyte Bellangé a connu une longue carrière qui s’est étendue de la Restauration au Second Empire. Après avoir exposé ses premières peintures au Salon de 1822, cet élève de Jean-Antoine Gros s’impose rapidement dans le milieu comme l’un des principaux chantres de la légende napoléonienne. Élevé en pleine gloire et effervescence du 1er Empire, il appartient à une génération d’artistes qui, au lendemain de Waterloo, va transposer dans son œuvre toute une palette de mélancolie et de nostalgie envers cette rutilance passée, tout autant entraperçue que fantasmée. Le succès de Bellangé, fortement corrélé à un contexte propice à la propagation de la légende napoléonienne, donne un aperçu intéressant sur les évolutions de l’opinion publique d’une part, et des attitudes politiques d’autre part, vis-à-vis de la figure de Napoléon Bonaparte. Ses œuvres se caractérisent en outre par l’application qu’il met dans l’évocation et la description du quotidien. Son installation à Rouen lui donne notamment l’occasion de créer une iconographie renouvelée de la campagne normande. Homme public et artiste aux multiples facettes, sa carrière a par ailleurs été marquée par son activité de conservateur du musée des Beaux-arts de Rouen. Ce parcours pluridisciplinaire nous offre un champ d’étude remarquable et une documentation précieuse sur la carrière et le statut des artistes du milieu du XIXe siècle. L’analyse de la vie et de l’œuvre d’Hippolyte Bellangé, resituées dans leur contexte politique, nous offre enfin l’occasion de questionner les notions d’art engagé, d’art populaire et d’art patriote dans les années qui ont suivi le 1er Empire<br>Hippolyte Bellangé had a long career that extended from the Restoration to the Second Empire. After exhibiting his first paintings at the Salon of Paris in 1822, this disciple of Jean-Antoine Gros quickly established himself in the artistic environment as one of the main promoters of the Napoleonic legend. Raised during the full glory and effervescence of the First Empire, he belonged to a generation of artists who, the day after Waterloo, transposed into their work a whole palette of melancholy and nostalgia towards that past glow they half-caught a glimpse of, half-fantasized about. Bellangé's success, which was strongly correlated to a context that was supportive to the spread of Napoleonic legend, gives an interesting insight into the evolution of public opinion on the one hand, and political attitudes on the other, towards the figure of Napoleon Bonaparte.His works are also characterized by the application he puts into the evocation and description of everyday life. His moving to Rouen gave him the opportunity to create a renewed iconography of the Norman countryside. Simultaneously a public figure and a multifaceted artist, his career has also been marked by his position as curator of the Musée des Beaux-arts of Rouen. This multidisciplinary background definitely offers a remarkable field of study and a valuable documentation on the careers and the status of artists in the mid-nineteenth century. The analysis of the life and work of Hippolyte Bellangé, reviewed in their political context, finally gives us the opportunity to question the notions of committed art, popular art and patriotic art in the years following the First Empire

L’image de l’Algérie dans les récits de voyage anglais de la seconde moitié du XIXe siècleNotre étude se propose d’examiner à la lumière de la théorie de l’orientalisme d’Edward Saïd la représentation de l’Algérie et des Algériens dans quatre récits de voyage anglais de la seconde moitié du XIXe siècle. Il s’agit, en effet, de Through Algeria, A Winter in Algeria, Algeria as it is et The New Playground; or, Wanderings in Algeria respectivement de Mabel Sharman Crawford, Mrs. G. Albert Rogers, George Gaskell et Alexander Andrew Knox. L’étude explore ces récits de voyage afin de mettre en lumière la nature de la représentation de l’autre telle qu’elle est faite par ces voyageurs anglais qui ont séjourné durant un hiver dans l’ex-Régence ottomane, devenue une colonie française à partir de 1830. L’étude se divise en trois parties considérant tout d’abord le contexte historique du XIXe siècle, puis les voyageurs anglais et leurs récits de voyage, et enfin la représentation de l’autre. Elle révèle une représentation stéréotypée avec un discours orientaliste comme toile de fond. Fidèle à ce discours, l’attitude des voyageurs anglais envers les Algériens est ambivalente, fait de sympathie et de mépris.Mots Clés : récit de voyage- orientalisme, représentation- altérité- autre- Algérie- exotisme<br>The Image of Algeria in the English Travel Writings of the Second Half of the XIX CenturyThe present study aims at exploring in the light of Edward Saïd’s theory of orientalism the image of Algeria and the Algerians in a set of English travel writings of the second half of the XIXth century, Through Algeria, A Winter in Algeria, Algeria as it is and The New Playground; or, Wanderings in Algeria respectively by Mabel Sharman Crawford, Mrs. G. Albert Rogers, George Gaskell and Alexander Andrew Knox .The study examines the nature of the representation of the other as produced by these English travellers who spent a winter in the former Ottoman regency which had become a French colony since 1830. The study is divided into three main parts which deal respectively with the historical context of the XIX century, the travellers and their travel writings and the other’s representation. The study reveals a stereotyped representation due to the background of the orientalist discourse.Key words: travel writing- orientalism- representation- otherness- Other- Algeria- exoticism

This doctoral thesis investigates the dynamics of reform of liturgical sacred music - the so-called "Cecilian" period - which affected the European Catholic world from the end of the 19th century, and In Trentino it was characterized by an intense and peculiar dialogue between Germany - place of origin of the main inspirers of the reform - and Italy. The research was based on several aspects. The assumption on which this thesis is based is the knowledge of the diocesan music collections kept at the Vigilianum Diocesan Library, of which the candidate personally oversaw the cataloging. These are four musical collections that in total they cover a time span of almost two centuries (from the end of the 18th century to the mid-twentieth century) and testify to the nature and consistency of musical training in the ecclesiastical circles of Trentino, but also the dynamics and results of the Cecilian reform. Initially it was necessary to carry out a census of the sources - never dealt with before - which brought to light, on the one hand, the documents kept in the archives and libraries of Trentino concerning the activity of the Cecilian Society of Trentino, of the Musical Chapel of the Trento Cathedral, of the Local Cecilian societies and other institutions involved. On the other hand the correspondence relating to exchanges with the Trentino and Italian environment preserved in the Bischöfliches Zentralarchiv und Bischöfliche Zentralbibliothek Regensburg. Fundamental to the historical reconstruction of this reform was, moreover, the systematic analysis of the main newspapers of the time in the period in question, i.e. from 1889 to 1920, which made it possible to create a conspicuous archive of musical chronicles, of news of reception of the reform and performance of various kinds of music in Trentino. Finally, to complete this musicological thesis, some of the many passages of the sacred and liturgical popular tradition in use at the time were collected and transcribed. Part of this rich documentation has been collected in the second volume (documentary appendix) and in the third volume (musical appendix) that complete the dissertation. The actual treatment (volume I) approaches the research subject with a multidisciplinary look: the Cecilian reform itself, in fact, did not limit itself to reforming liturgical chant, sacred music and organ building, but in fact intertwined with the history of institutions, with school, theater and popular singing. The setting of the thesis takes into account the supranational dimension of the reform (introduction) with which the small local societies had to confront, and then deepen, with a reading from the particular to the general, the history of the Trentino Cecilian Society, one of the longest-lived Cecilian associations (chapter I), the specific areas of activity of the reformers from Trentino, namely Christian liturgical chant, polyphony and sacred music and organ building (chapter II). Chapter III explores some collateral areas with which the reform interacted and investigates more deeply the relationship with the German environment from an institutional, ideological point of view and about the spread of the repertoire. Finally, the closing epilogue outlines the subsequent outcomes of the reform in the first half of the twentieth century, which remains, however, a partially unexplored era, with possible traces for new research.<br>La presente tesi dottorale indaga le dinamiche di riforma della musica sacra liturgica – il cosiddetto periodo “ceciliano” – che interessò il mondo cattolico europeo a partire dalla fine del XIX secolo, e che in Trentino fu caratterizzato da un intenso e peculiare dialogo con la Germania – luogo di origine dei principali ispiratori della riforma – e con l’Italia. La ricerca che ha condotto alla stesura di questa dissertazione è stata varia e articolata su più fronti. Il presupposto su cui questa tesi si basa è la conoscenza delle collezioni musicali diocesane conservate presso la Biblioteca Diocesana Vigilianum, di cui la candidata ha curato personalmente il riordino e la catalogazione, tra il 2016 e il 2019: si tratta di quattro fondi musicali che complessivamente coprono un arco temporale di quasi due secoli (dalla fine del Settecento alla metà del Novecento) e che testimoniano la natura e la consistenza della formazione musicale negli ambienti ecclesiastici trentini, ma anche le dinamiche e gli esiti della riforma ceciliana. Inizialmente è stato necessario svolgere un censimento delle fonti – mai affrontato prima – che ha portato alla luce, da un lato i documenti conservati negli archivi e nelle biblioteche trentine inerenti l’attività della Società Ceciliana Trentina, della Cappella Musicale della Cattedrale di Trento, delle Società Ceciliane territoriali e di altre istituzioni coinvolte; dall’altro i carteggi relativi alle relazioni e agli scambi con l’ambiente trentino e italiano conservati nella Bischöfliches Zentralarchiv und Bischöfliche Zentralbibliothek Regensburg. Fondamentale ai fini della ricostruzione storica di questa riforma è stato, inoltre, lo spoglio sistematico dei principali giornali dell’epoca nel periodo interessato, ovvero dal 1889 al 1920, che ha consentito di creare un cospicuo archivio di cronache musicali, di notizie di recezione della riforma e di esecuzione di musica di vario genere nelle valli trentine. Infine, a completamento di questa tesi musicologica, si è raccolto e trascritto alcuni dei moltissimi brani della tradizione popolare sacra e liturgica in uso all’epoca. Parte di questa ricca documentazione è stata raccolta nel secondo volume (appendice documentaria) e nel terzo volume (appendice musicale) che corredano la dissertazione. La trattazione vera e propria (I volume) approccia la materia di ricerca con uno sguardo multidisciplinare: la riforma ceciliana stessa, infatti, non si limitò a riformare canto liturgico, musica sacra e organaria ma di fatto si intrecciò con la storia delle istituzioni, con la scuola, il teatro e il canto popolare. L’impostazione della tesi tiene conto della dimensione sovranazionale propria della riforma (introduzione) con cui le piccole Società locali dovettero confrontarsi, per poi approfondire, con una lettura dal particolare al generale, la storia della Società Ceciliana Trentina, una delle più longeve associazioni ceciliane (capitolo I), gli ambiti specifici di attività dei riformatori trentini, ovvero canto liturgico cristiano, polifonia e musica sacra e organaria (capitolo II). Nel capitolo III vengono approfonditi alcuni ambiti collaterali con cui la riforma interagì e indagato più a fondo il rapporto con l’ambiente tedesco dal punto di vista istituzionale, ideologico e circa la diffusione del repertorio. Infine nell’epilogo di chiusura si tratteggiano gli esiti successivi della riforma nella prima metà del XX secolo, che rimane, tuttavia, un’epoca in parte inesplorata, con possibili tracce per nuove ricerche.

S’inscrivant dans le champ désormais classique de la construction nationale, cette thèse a pour principal objectif de mettre en lumière le rôle joué par les régions dans le processus de consolidation de l’État-nation en Amérique latine, au tournant des XIXe et XXe siècles (1880-1920). La thèse entend démontrer que, si cette période correspond dans tous les pays d’Amérique latine à un moment de forte centralisation du pouvoir central, c’est également une période d’importante redéfinition des identités régionales et de leur participation dans les destins nationaux.Pour mener à bien ce projet d’interprétation des évolutions politiques contemporaines de l’Amérique latine, l’analyse doctorale propose une comparaison du discours politique et des arguments émis par les élites de Guadalajara, au Mexique, et d’Arequipa, au Pérou, à partir d’une révision systématique et détaillée de la presse régionale publiée dans les deux villes<br>Belonging to the now classical historiographical field of the national construction the thesis has for main objective to understand the role played by regions in the process of consolidation of the nation-state in Latin America, in the transition between nineteenth and twentieth centuries (1880-1920). The thesis wants to demonstrate that, if this period corresponds in all Latin American countries to a strong centralization moment from the central power, it’s also an important moment in the definition of regional identities and it participation to the national destiny. To carry out this interpretative project of the political contemporary evolution of Latin America, the doctoral analysis proposes to compare the political speech and arguments emitted by the elites from Guadalajara, in Mexico, and Arequipa in Peru, from a systematic and detailed revision of the regional press published in both cities

Au XIXe siècle, le royaume des Ryûkyû (actuelle préfecture d’Okinawa au Japon) était à la fois tributaire de la Chine des Qing et sous la domination des shôgun Tokugawa (via le fief de Satsuma). Toutefois, il conservait une large autonomie politique. Cherchant un point d’appui en Extrême-Orient, et ne pouvant avoir accès aux ports japonais en raison de la politique de « sakoku », la France de la Monarchie de Juillet a fixé son attention sur ce royaume et y a envoyé à partir de 1844 des militaires ainsi que des prêtres des Missions étrangères de Paris. La situation ainsi créée dans le royaume fut aussi inédite que complexe ; d’un côté, les autorités des Ryûkyû surveillaient très étroitement les étrangers présents, qu’elles isolaient de la population locale par tous les moyens ; d’un autre côté, les Français profitaient de l’occasion qui leur était donnée pour observer de l’intérieur cette contrée encore peu connue de l’Europe et pour tenter de l’évangéliser. Ce premier contact aboutit à la conclusion d’une convention, le 24 novembre 1855, entre la France et le royaume des Ryûkyû. Si cette convention ne fut finalement jamais ratifiée, elle a eu un impact important sur la politique extérieure des Ryûkyû. Elle a également pesé sur les premières relations franco-japonaises<br>In the 19th century, the kingdom of Ryûkyû kingdom (now Okinawa Prefecture in Japan) was both dependent on Qing China and under the rule of Tokugawa shogun (via the Satsuma fief). However, he retained a broad political autonomy.Seeking a fulcrum on the Far East, and unable to access Japanese ports due to Sakoku’s policy, the France of the July Monarchy paid attention to this kingdom and sent military as well as priests of the Foreign Missions of Paris, as a result of which the situation in the kingdom became quite complex; on the one hand, the Ryûkyû closely monitored the foreigners by isolating them from the rest of the local population by all means. On the other hand, the French took advantage of the situation to focus on this barely known region and to try to evangelize it. This first contact led to the conclusion of a convention, on November 24, 1855, between France and the Ryûkyû kingdom. Despite the fact the convention was never ratified, it had as significant impact on the Ryûkyû’s foreign policy. It also affected the first Franco-Japanese relations<br>19世紀、琉球王国（現・沖縄県）は清の朝貢国であり、また薩摩藩を介し幕藩体制に組み込まれた「二重朝貢国家」であった。しかし、対外的には清（中国）との関係を前面に出すことで対日関係（薩琉関係）を隠蔽し、また国内においても一定の主体性を保持していた。同時期、東アジアにおける拠点を探していた七月王政下のフランスは琉球王国に注目し、1844年 、フランス海軍籍のアルクメーヌ号を派遣、パリ外国宣教会所属の宣教師を留置した。当時、ヨーロッパにおいて琉球王国の存在こそ知られていたものの、王国の特殊性―日中両属、特に薩摩藩との関係―は未だ解明されていない中での進出であった。海洋国家ゆえ、異国船の来航や遭難はままある事態であったが、西洋人の長期滞在は異例のことであり、琉球王府はアルクメーヌ号来琉によって作り出された新たな状況への対応を余儀なくされた。王府は異国人（フランス人宣教師）を隔離、彼らの行動を厳しく監視・制限するとともに、自国民へも異国人との交流や接触を禁じた。一方、フランス人宣教師達は滞琉中に国状の観察、現地語（琉球方言ならびに日本語）の習得に励むとともに、キリスト教の布教も試みていた。1855年11月24日、琉球王国とフランスは琉仏条約を締結した。この条約は結果的に批准されることはなかったが、条約の条項は1840年代におけるフランス人宣教師の滞琉経験を反映したものとなっており、またこの条約の締結によって琉球王府は自国の対外政策に変更・修正を加えた。1840年から1850年代のフランス人宣教師達の滞琉経験は1858年の日仏修好通商条約締結から始まる最初期の日仏関係に影響を与え、また活かされることになった。

My dissertation analyzes the action pursued by the police in Bologna during the years of Restoration in solving critical family situations through the use of a conciliatory attitude that allowed for the avoidance of court intervention even in the presence of criminal behavior. The Police took a non-repressive approach towards adultery, illegitimate pregnancies, rape and other family disorders provided they didn’t implicate a public scandal and, when they were called upon to settle disputes between spouses, police officers always tried to maintain matrimonial stability as well as social peace. The sources of my research were the numerous documents produced by the Direzione provinciale di polizia between 1814 and 1859 that testify to the police's large involvement in cases of matrimonial conflict: a rich and vivid source of material that provides the opportunity to study how the different parties acted and interacted in a changing society such as Bologna in the period following the restoration of papal power. The main aim has been to investigate the origins of police choices and attitudes in the field of private life and to develop a better understanding of policing in previous centuries where the origins of most of the observed phenomena can be found. I devoted particular attention to non-judiciary practices of peacemaking to compare them with the official way of dealing with family disorder and to obtain a reliable frame of Nineteenth century police action.

Cette thèse a pour ambition de montrer dans quelle mesure la presse géorgienne de la seconde moitié du XIXe siècle qui constitue une source historique précieuse sur cette période, permet de suivre l’évolution des transferts culturels européens et de cerner le profil social et politique des médiateurs géorgiens de ces transferts. Elle s’intéresse aux discours qui accompagnent l’introduction du mode de vie moderne et du progrès technique, aux réactions suscitées par le regard que les Européens portent sur la Géorgie, mais aussi à l’expérience que les Géorgiens rapportent de leurs séjours en Europe. En effet, ces voyages, qui leur permettent d’observer la vie politique et sociale européenne et d’établir des contacts avec les milieux intellectuels, s’inscrivent dans la perspective de contribuer, de retour dans leur patrie, au succès du projet politique auquel, désormais, ils s’identifient. Notre travail accorde une place importante à l’étude des mécanismes qui rendent possibles les flux d’importation dans le domaine de la littérature et des sciences : institution d’un champ intellectuel, élaboration d’une nouvelle terminologie, mise en place de critères de sélection des textes étrangers et stratégies discursives facilitant leur diffusion. En élucidant ces critères, qui conduisent à la sélection des textes et des auteurs européens ou au choix des références à l’Europe, nous nous attachons à analyser dans quelle mesure les transferts se font le reflet d’un contexte historique caractérisé par la formation d’une conscience nationale et d’idéologies concurrentes qui, dès les premières années du XXe siècle, conduiront la Géorgie de la révolution à l'indépendance<br>This dissertation aims to show in what measure the Georgian press of the second half of the nineteenth century, which constitutes a precious historical resource for study of this time period, allows us to follow the evolution of cultural transfers from Georgia to Europe and to understand the political and social profile of the Georgian mediators of these transfers. It manifests an interest in the discourses that accompany the introduction of modern living and technological progress in the country, in the reactions inspired by the European perspective on Georgia, and also in the experience that the Georgians bring back home after their travels in Europe. In fact, these travels allow them to observe European political and social life and to establish contacts with intellectual milieus in order to contribute, when they return to their country, to the success of the political projects with which they would identify. My work centers on the mechanisms that have made possible the flow of foreign cultural transmission in the fields of literature and science: the institution of an intellectual field, the elaboration of a new terminology, the establishment of selection criteria for foreign texts, and the establishment of discursive strategies facilitating the diffusion of such texts. In elucidating these criteria, which lead to the selection of European texts and authors or to the choice of references to Europe, I will analyze in what measure the transfers reflect a historical context characterized by the formation of a national consciousness and competing ideologies that, from the beginning years of the twentieth century, would lead Georgia from revolution to independence

L'objectif de cette thèse est de reconstituer l'histoire du phénomène des moretti, filles et garçons d'origine subsaharienne, rachetés de l'esclavage par des missionnaires catholiques principalement au XIXe siècle et éduqués en Europe, souvent avec le but de les renvoyer après en Afrique comme missionnaires. Dans la première partie de ce travail, j'esquisse le contexte historique, notamment en référence aux macro-thèmes de l'esclavage et des missions. L'analyse des principales phases de développement du phénomène vient ensuite, à partir de sa dimension institutionnelle. J'ai choisi de commencer cette étude avec l'histoire de la missionnaire Anne-Marie Javouhey, qui amena en 1824 quelques enfants sénégalais en France. Le phénomène est en déclin à partir de la fin du XIXe siècle mais j'ai choisi comme date finale, celle de 1947, année de la mort de Joséphine Bakhita, une esclave soudanaise devenue religieuse et canonisée après sa mort. Dans la troisième partie de la thèse, je présente quelques trajectoires biographiques de moretti, afin d'illustrer par l'exemple les nombreux cas de vies et d'événements qui donnent corps à un phénomène unitaire mais diversifié. Une étude iconographique en Annexe achève la thèse. Cette recherche veut mettre en lumière une histoire restée jusqu'à'présent presque cachée : le travail ne se focalise pas seulement sur les trajectoires des missionnaires européens, mais surtout sur celles des moretti. La recherche s'inscrit donc dans le courant des 'études qui repensent l'histoire des missions dans une perspective' qui n'est plus euro-centrique. Les moretti, en effet, ne furent pas uniquement des victimes d'un système qui les relégait à être des acteurs de second plan, mais ils furent des individus qui contribuèrent à façonner la mission. Cette histoire, souvent douloureuse, des enfants africains éduqués en Europe au XIXe, est restée longtemps méconnue ; elle est l'une des premières pages de l'histoire du christianisme africain<br>The aim of this doctoral thesis is to reconstruct the historical phenomenon of the "moretti". They were generally girls and boys of sub-Saharan origin rescued from slavery by Catholic missionaries during the Nineteenth century. Once in Europe, they were often educated to become missionaries, to be later sent back to Africa to continue the christianization of the continent. In the first part of my work, I will attempt to outline the historical context, highlighting the references to the macro-themes of slavery and missions. Hence, I will also analyse the main stages of its development from its institutional dimension. I have decided to date the beginning of the phenomenon in 1824 when missionary Anne-Marie Javouhey brought some Senegalese children to France. Although it had already been in decline for several decades, I have chosen to consider 1947 as an ending point: this is when Josephine Bakhita, a Sudanese slave girl turned nun and canonised after death, died. In the third and final part of the thesis I will present some biographical portraits of "moretti", in order to illustrate the wide case history of lives and events that make up to such a unitary but diversified phenomenon. An elaborate iconographic appendix closes the work. This research aims to bring to light a history that has so far been almost neglected, focusing not only on the trajectories of European missionaries, but especially on those of the "moretti". By doing so, it will fit into that field of studies that tries to rethink the history of missions abandoning a strictly Eurocentric approach. This research also wants to emphasize that "moretti" were not simply victims of a system which only classified them as second-rate roles, but rather individuals with their own agency, who directly contributed to shaping the mission itself<br>L'obiettivo di questa tesi dottorale è ricostruire il fenomeno storico dei "moretti", bambine e bambini d'origine subsahariana riscattati dalla schiavitù da missionari cattolici principalmente nel diciannovesimo secolo ed educati in Europa, spesso con lo scopo di rimandarli in Africa come missionari a loro volta. La prima parte cercherà di tratteggiare il contesto storico, in particolare in riferimento ai macrotemi della schiavitù e delle missioni. Seguirà l'analisi delle principali fasi di sviluppo del fenomeno, a partire anche dalla sua dimensione istituzionale. Si è optato per datarne l'inizio nel 1824, con l'azione della missionaria Anne-Marie Javouhey, che portò alcuni bambini senegalesi in Francia; la data scelta per la fine, invece, benché esso fosse in declino già da tempo, è il 1947, anno di morte di Giuseppina Bakhita, una bambina schiava sudanese divenuta suora e la più nota tra le "morette". Nella terza ed ultima parte della tesi si presenteranno alcuni ritratti biografici di "moretti", al fine di illustrare esemplarmente l'ampia casistica di vite e vicende che danno corpo a un fenomeno unitario ma diversificato. Chiude l'elaborato un'appendice iconografica. La ricerca vuole riportare alla luce una storia rimasta finora pressoché sommersa, focalizzando non solo le traiettorie dei missionari europei, ma specialmente quelle dei "moretti" e, così facendo, inserirsi nella corrente di studi volta a ripensare la storia delle missioni in chiave non più esclusivamente eurocentrica. I "moretti", infatti, non furono solo vittime di una serie di processi volti a relegarli ad un ruolo di secondo piano, ma individui dotati di una loro agency, che contribuirono a plasmare la missione stessa

Submitted by Oliveira Santos Dilzaná (dilznana@yahoo.com.br) on 2015-10-15T14:32:50Z No. of bitstreams: 1 Tese - Silmaria Souza Brandão.pdf: 4696730 bytes, checksum: db02d750f4a043ba2ed3a9d65c89ca8a (MD5)<br>Approved for entry into archive by Ana Portela (anapoli@ufba.br) on 2016-01-25T13:11:48Z (GMT) No. of bitstreams: 1 Tese - Silmaria Souza Brandão.pdf: 4696730 bytes, checksum: db02d750f4a043ba2ed3a9d65c89ca8a (MD5)<br>Made available in DSpace on 2016-01-25T13:11:48Z (GMT). No. of bitstreams: 1 Tese - Silmaria Souza Brandão.pdf: 4696730 bytes, checksum: db02d750f4a043ba2ed3a9d65c89ca8a (MD5)<br>Ao longo da História, as mulheres foram consideradas como desprovidas de poder. Submetidas ao domínio de relações patriarcais, vivenciaram, por muito tempo, a autoridade do pai, do marido e, em algumas instâncias, a autoridade do padre. Distanciadas do poder formal, encontraram no Estado, na Igreja e na sociedade agentes que legitimavam a sua opressão. Entre os séculos XVIII e início do século XIX, esta situação de opressão vivenciada pelas mulheres sofreu variações. Despontando como um grupo heterogêneo, formalmente excluído das instâncias do poder, encontramos as mulheres viúvas. Discute-se, aqui, a noção corrente de “não poder”, a partir do exercício da atividade comercial exercidas pelas mulheres viúvas em Salvador, no período de 1850 até 1920, demonstrando como buscaram conquistar e manter sua autonomia pessoal e financeira a partir da ocupação habitual em pequenos comércios e até em estabelecimentos e negócios de maior envergadura. As estratégias de resistência que desenvolveram são demonstradas a partir do exame dos inventários e testamentos dos falecidos maridos, momento em que foram identificadas como protagonistas das suas histórias de vida, exercendo papéis inusitados para boa parte das suas congêneres, pois, de viúvas abandonadas e desamparadas se transmutaram em provedoras da família, exercendo o papel de pai e mãe, além de manterem a atividade comercial no trato diário com clientes, fornecedores, empregados e escravos, sem deixarem, no entanto, de ser a “viúva de Fulano de Tal”. O recorte no espaço que dura o inventário e, em alguns casos, a existência destas mulheres, revela muito mais que o silêncio e a invisibilidade que, à primeira vista, pode-se imaginar. O diálogo entre o feminismo, através de categorias de análise como gênero, classe e geração, e a micro-história permite uma abordagem multidisciplinar, ensejando dar visibilidade às mulheres viúvas, figuras pouco interessantes mesmo para os cientistas sociais, consideradas improdutivas do ponto de vista da (re)produção, silenciadas por uma estrutura patriarcal bem definida e que pouca margem deixou para uma atuação diferenciada. As viúvas que compõem este estudo são a exceção à regra, o contraponto, o singular dentro da ordem vigente. Longe de fazer a revolução, estas personagens nos fazem refletir sobre a dissimulação, os contrapoderes utilizados pelas mulheres e a prática cotidiana dos micropoderes, no silêncio, na obstinação e na força que caracterizaram suas condutas. Through history women have been considered powerless. They have been under the domination of patriarchal relations; women have lived for a long time the authority of their fathers, husbands and, in some cases, priests. They have been set apart from the formal power and have found on State, on Church and on society agents that legitimated their oppression. Between the 18th and the beginning of the 19th century this situation deeply experienced by women has been through variations. Emerging as a heterogeneous group, formally excluded from the power instances, we can find the widows. The notion of “non-power” has been discussed from the commercial activity made for these widows in Salvador during 1850 until 1920, showing how they searched to have and keep their personal and financial autonomy from working in small business or even big businesses. The resistance strategies that these women developed are shown from the examination of inventories and testaments from their deceased husbands, the moment when they were identified as main characters of their life stories, playing unusual roles for a good part of their relatives, because they went from abandoned and helpless to family providers, playing the role of mothers and fathers, and also keeping a commercial activity, working face to face with customers, suppliers, employees and slaves, without leaving the image of being someone’s widow. The outline in space of the inventory time and, in some cases, the existence of these women, reveal much more than the silence and the invisibility that can be imagined at first sight. The dialogue between the feminism through categories of analysis as gender, group and generation and the micro history allow a multidisciplinary approach, offering visibility to the widows, seen as less interesting even for the social scientists, considered unproductive from the point of view of (re)production, silenced one by one by a well-defined patriarchal structure which let little space for a different performance. The widows who took part in this study are the exception for the rule, the counterpoint, the singular inside the present order. Far from doing a revolution, these characters make us reflect about the dissimulation, the reverse power used by women, and the everyday practice of micro powers, in the silence, in the stubbornness and in the strength that portray their attitudes. Nel corso della storia, le donne furono considerate prive di potere. Soggette al dominio delle relazioni patriarcali, hanno vissuto per lungo tempo sotto l’autorità del padre, del marito e, in alcuni casi, quella del prete. Allontanate dal potere formale, hanno trovato nello Stato, nella Chiesa e nella società agenti che hanno leggitimato la loro oppressione. Tra il XVIII e l’inizio del XIX secolo questa situazione di oppressione ha subito delle variazioni. Da un gruppo eterogeneo, formalmente escluso dalle istanze di potere, emersero delle vedove. Qui se discute il concetto attuale di “non potere”, a partire dall’esercizio dell’attività commerciale svolta dalle donne vedove a Salvador, nel periodo tra il 1850 fino al 1920, dimostrando come hanno cercato di conquistare e mantenere la loro autonomia personale e finanziaria a partire dall’occupazione abituale in piccoli commerci fino ad arrivare alle grandi imprese. Le strategie di resistenza che hanno sviluppato sono state dimostrate dall’esame degli inventari e dei testamenti dei mariti morti, momenti in cui sono state identificate come protagoniste delle loro storie di vita, assumendo dei ruoli inconsueti per la maggior parte delle loro congeneri, perché, da vedove abbandonate e indifese, si sono tramutate in sostenitrice della famiglia, esercitando il ruolo di padre e di madre, oltre che mantenere l’attività commerciale nei rapporti quotidiani con clienti, fornitori, dipendenti e schiavi, senza lasciare, tuttavia, la vedovanza del Signor “X”. Lo zoom nello spazio in cui dura l’inventario dei beni lasciati dal defunto e, in alcuni casi, l’esistenza di queste donne rivela molto di più il silenzio e l’invisibilità che, a prima vista, si può immaginare. Il dialogo tra il femminismo, attraverso le categorie di analisi come il genere, la classe, la generazione e la micro storia, consente un approccio multidisciplinare, permettendo di dare visibilità alle donne vedove, figure poco interessanti anche per gli scienziati sociali, considerate improduttive in termini di ri/produzione, silenziate da una struttura patriarcale ben definita e che poco spazio ha lasciato per una performance differenziata. Le vedove che compongono questo studio sono l’eccezione alla regola, il contrappunto, il singolare dentro l’ordine stabilito. Lontani dalla rivoluzione, questi personaggi ci fanno riflettere sulla dissimulazione, sui contro poteri utilizzati dalle donne e sulla pratica quotidiana dei micro poteri, nel silenzio, nell’ostinazione e nella forza che hanno caratterizzato il loro comportamento.

Il presente studio si propone di ricostruire, in una dimensione monografica, la figura di Francesco Scaramuzza, personalità artistica prolifica che ha determinato nella prima metà dell’Ottocento il nuovo corso della pittura parmense. Interprete e portatore di un Romanticismo atipico, fu debitore, a suo modo, tanto della lezione dei Nazareni quanto, più tardi, della svolta lombarda verso i temi contemporanei, senza mai trascurare l’amata impronta correggesca. L’artista attraversa tre distinti momenti di committenza, dal governo restaurato di Maria Luigia d’Asburgo, dopo la parentesi napoleonica, all’infelice intervallo borbonico, presto sfociato nell’annessione al regno Sardo di Vittorio Emanuele II. Sotto la sovrana austriaca giunge all’apice della carriera, subendo, però, una battuta d’arresto con i Borbone a causa delle sue note simpatie libertarie. Trova una conferma nel nuovo governo unitario, il quale gli affida il compito di illustrare la Divina Commedia, la sua opera più nota e più riuscita, che segnerà, dopo diciassette anni di strenuo lavoro, il punto di arrivo della sua carriera d’artista.<br>This study aims to reconstruct, in a monographic dimension, the profile of Francesco Scaramuzza, a prolific artist who determined the new course of painting in Parma in the first half of the 19th century. Interpreter and bearer of an atypical Romanticism, in his artistic development he was inspired by the lessons of the Nazarenes as much as by the Lombard interest in contemporary subjects, without neglecting the beloved imprint of Correggio’s style. Throughout his career he went through three different patronages, from the restored regime of Marie Louise of Hapsburg, after the Napoleonic period, to the unhappy Bourbon interlude, ended quickly with the annexation to the reign of Vittorio Emanuele II. Under the Austrian sovereign he reached the peak of his career, suffering, however, a setback under the Bourbon government because of his well-known libertarian sympathies. His value was recognized eventually by the establishment of the united Italy, who entrusted him to illustrate the Divine Comedy, his most famous and successful work, which will mark, after seventeen years of strenuous work, the conclusion of his career as an artist.

Il presente studio si propone di ricostruire, in una dimensione monografica, la figura di Francesco Scaramuzza, personalità artistica prolifica che ha determinato nella prima metà dell’Ottocento il nuovo corso della pittura parmense. Interprete e portatore di un Romanticismo atipico, fu debitore, a suo modo, tanto della lezione dei Nazareni quanto, più tardi, della svolta lombarda verso i temi contemporanei, senza mai trascurare l’amata impronta correggesca. L’artista attraversa tre distinti momenti di committenza, dal governo restaurato di Maria Luigia d’Asburgo, dopo la parentesi napoleonica, all’infelice intervallo borbonico, presto sfociato nell’annessione al regno Sardo di Vittorio Emanuele II. Sotto la sovrana austriaca giunge all’apice della carriera, subendo, però, una battuta d’arresto con i Borbone a causa delle sue note simpatie libertarie. Trova una conferma nel nuovo governo unitario, il quale gli affida il compito di illustrare la Divina Commedia, la sua opera più nota e più riuscita, che segnerà, dopo diciassette anni di strenuo lavoro, il punto di arrivo della sua carriera d’artista.<br>This study aims to reconstruct, in a monographic dimension, the profile of Francesco Scaramuzza, a prolific artist who determined the new course of painting in Parma in the first half of the 19th century. Interpreter and bearer of an atypical Romanticism, in his artistic development he was inspired by the lessons of the Nazarenes as much as by the Lombard interest in contemporary subjects, without neglecting the beloved imprint of Correggio’s style. Throughout his career he went through three different patronages, from the restored regime of Marie Louise of Hapsburg, after the Napoleonic period, to the unhappy Bourbon interlude, ended quickly with the annexation to the reign of Vittorio Emanuele II. Under the Austrian sovereign he reached the peak of his career, suffering, however, a setback under the Bourbon government because of his well-known libertarian sympathies. His value was recognized eventually by the establishment of the united Italy, who entrusted him to illustrate the Divine Comedy, his most famous and successful work, which will mark, after seventeen years of strenuous work, the conclusion of his career as an artist.

Le XIXe siècle français a été marqué par une pratique extrêmement répandue de la transcription musicale. Cette thèse veut s'attacher à ses usages comme moyen d'accès à l'œuvre, à travers l'apport exceptionnel en ce domaine du compositeur et organiste Alexandre Guilmant, des années 1850 – époque de ses premières activités professionnelles – à 1910, veille de sa mort. Si transcrire n'est pas spécifique au XIXe siècle, cet acte irrigue la création musicale, se place au cœur de la conception esthétique de l'œuvre, au point de concentrer en lui de nombreuses questions liées à l'écoute, à la pratique amateur et professionnelle, à l'émergence d'une littérature spécifique et adaptée, à la propriété intellectuelle, entre autres. Le cas Guilmant, étudié dans son contexte socio-artistique, éclaire l'image du transcripteur qui se nourrit de l'extrême mobilité de la musique, s'imprègne des styles classiques et anciens, actualise des œuvres choisies et contribue ainsi à la construction d'un répertoire exemplaire. La transcription apparaît alors comme médiatrice d'une culture, capable d'accompagner le développement de la conscience historique<br>Musical transcription was an extremely widespread practice in 19th-Century France. This thesis will focus on its use as a mean of accessing the original artwork, through the outstanding contribution in this field of composer and organist Alexandre Guilmant, between the years of his early professional activities in the 1850s until the eve of his death in 1910. Although transcription is by no means confined to the 19th-Century, it flows through all of musical creation and lies at the heart of the aesthetic design of the artwork – to the point of bringing into focus many issues related, among others, to listening, to amateur and professional practice, to the emergence of a literature both specific and adapted to intellectual property. Guilmant’s case, studied against his socio-artistic background, illuminates the transcriber who, feeding on the extreme mobility of music, is impregnated by classical and antique styles, updates selected works, and so contributes to the development of an exemplary repertoire. Transcription appears as the mediator of a culture and capable of supporting the development of historical consciousness

Au moment où la prostitution semble exploser dans les villes, la fille des rues envahit la littérature de la seconde moitié du XIXe siècle. Cette héroïne nouvelle acquiert bien vite le premier rôle de ce qui devient un sous-genre romanesque à part entière, le « roman de fille », dont on mettra en évidence la structure et les motifs privilégiés. Un détour par les discours médicaux, moraux et sociaux du temps sur la femme et la prostituée nous permettra de mieux appréhender le fonctionnement et les significations multiples que ce personnage revêt en littérature. Figure du manque et de la dépossession, la prostituée interroge la vision masculine du féminin, mais elle traduit aussi les inquiétudes des contemporains face aux nombreuses mutations sociales, économiques et politiques du siècle ; elle se fait le reflet d’angoisses existentielles sur le rapport au corps, aux autres et à la mort, ainsi que le lieu privilégié de réflexions artistiques et esthétiques<br>While prostitution was exploding within the cities, the character of the prostitute flourished in the second part of the nineteenth-Century literature. This new heroine quickly gets the leading part in a soon-To-Be proper literary fictional sub-genre, the “prostitute novel”, whose structure and motifs will be pointed out in our research. We will evoke medical, moral and social discourses about women and prostitutes in the 19th century in order to grasp the numerous roles this character can assume in literature. As a protagonist of the loss and deprivation, the prostitute questions the masculine vision of women, but she also embodies her time’s worries about the multiple social, economical and political transformations happening. She also holds a mirror to existential anxieties about the relationship to the Body, the Other and Death, and appears to be a privileged character for artistic and aesthetic considerations

Le projet consacré à la statique graphique étudie un aspect jusqu'ici peu exploré de l'histoire technique tchèque de la seconde moitié du XIXème au début du XXe siècle, lorsque les pays tchèques ont joué un rôle de premier plan en matière de technologie dans l'ancienne monarchie autrichienne. Une part du projet a permis de révéler le transfert de cette méthode de calcul en pratique d'ingénierie depuis son lieu d'origine, France et Suisse, vers les pays tchèques, et la contribution originale du milieu tchèque dans ce domaine. Le transfert de la statique graphique vers les pays tchèques fut effectué après sa formation dans la seconde moitié des années 1860. Le transfert culturel a prospéré grâce à la diffusion de la presse et des livres publiés principalement en allemand et, bien sûr, grâce aux contacts personnels étroits entre les conférenciers des écoles polytechniques européennes, en particulier des langues allemandes. La thèse contient également des exemples d'importants bâtiments historiques tchèques, pour lesquels la statique graphique a été utilisée pour calculer la structure. Ces calculs sont illustrés par la documentation archivistique, qui n'a pas encore été publiée. Une part de la thèse est également consacrée à la comparaison de deux méthodes de calcul de déformation des treillis (système triangulés). La première est la méthode du français V.-J. Williot, qui a été publiée en août 1878. La seconde est la méthode du professeur tchèque V. Bukovsky de janvier 1879. Comme il n'existe à l'heure actuelle aucune étude détaillée portant sur Victor-Joseph Williott ( 1843-1907), certains documents d'archives jamais publiés ont été recherchés pour illustrer sa vie<br>The project of graphic statics is studying a heretofore little explored part of the Czech technical history of the second half of the 19th, and beginning of the 20th centuries, when the Czech lands held a leading role in technology in the former Austrian Monarchy. A part of the project is to reveal the transfer of this computational method in engineering practice from the place of its origin, France and Switzerland, to the Czech lands, as well as original contribution of the Czech millieu to this field. The transfer of graphic statics to the Czech lands came very soon after its formation in the second half of the 1860' s. Cultural transfer prospered thanks to the distribution of press and books published mainly in German, and, of course, thanks to the close persona) contacts among lecturers at European, especially German-speaking, polytechnic high school! The thesis also contains examples of significant Czech historical buildings, for which graphic statics was used to calculate the structure. These calculations are illustrated by archival documentation, which has not yet been published. A special part of the thesis is a comparison of two calculation methods of deformation of trusses. The first one is the method of French V.-J. Williot, which was published in August 1878. The second one is the Czech professor V. Bukovsky's method of January 1879. As no more detailed information was known about Victor-Joseph Williott ( 1843- 1907), some never published archival documents were searched to illustrate his life

Pendant la seconde moitié du XIXe siècle, Lima était une ville en train de se moderniser grâce à la richesse du guano. Dans les années 1870 émerge un groupe de femmes de lettres qui s'appuient sur la presse et les institutions littéraires. Elles trouvent des espaces ouverts à leur expression artistique et à leurs idées comme les Veladas Literarias. Après la Guerre du Pacifique (1879-1883), après l'occupation de la ville de Lima par l'armée chilienne, quelques intellectuels ont évolué vers une écriture plus critique de la société. Mercedes Cabello de Carbonera (1842-1909) est la première romancière au Pérou avec une production très importante. Elle construit ses romans à partir d'un regard sociologique sur la condition de la femme, car elle croit que de cela dépend la transformation morale de la société, et par conséquent le progrès.Nous développons notre recherche en trois parties. Dans la première, nous nous occupons du contexte politique, social et culturel et de l'éducation en particulier des femmes de lettres comme Cabello. Dans la deuxième partie, nous analysons les articles et les six romans de Cabello divisés en trois périodes (les romans traditionnels, les romans de la réécriture et les romans de la transgression) ; finalement, dans la dernière partie, nous établissons une comparaison avec d'autres femmes de lettres de l'époque : Soledad Acosta, Colombienne, et Emilia Pardo Bazán, pour distinguer la singularité du réalisme péruvien, et la représentation de la femme, par rapport à la production littéraire d'autres pays hispanophones.

La these analyse la collection de terre cuite de Raffaele Gargiulo (1785-après 1864), céramiste et restaurateur affirmé, personnage de première importance du Musée de Naples, marchand napolitain d'antiquité des années 20 et 30 du XIXe siècle. La proposition de vente de sa collection au Musée de Naples est faite en décembre 1852. Après deux années de dures négociations le 29 mai 1855 la vente se conclut pour 6000 ducats. Pour comprendre le personnage de Gargiulo en tant que marchand d'oeuvre d'art, 315 documents, conservés dans l'Archive d'État de Naples et la Surintendance de Naples, ont èté analysés. L'étude de 11 arrêtés royaux entrés en vigueur entre 1807 et 1852, ont permis de reconstruire le cadre législatif en vigueur de l'époque. La petite plastique, la classe la plus nombreuse, représente environ les trois quarts de la collection de terre cuite. En ce qui concerne les provenances, les Pouilles et la Campanie sont largement dominantes avec 578 objets (95.54% de la collection entière): dans le détail on note que les localités se trouvant aux premières places sont aussi bien les Pouilles (Gnathia, Ruvo et Canosa) que la Campanie (Capoue et Calès), plus célèbres pour les fabrications coroplastiques. Le matériel architectonique va de la fin du VIe s. av. J.- C. au I Ier s. ap. J.-C., le matériel coroplastique se situe entre la moitié du IVe s. et la fin du IIIe s. av. J.-C., la céramique à décoration plastique et polychrome et celle achrome entre le IVe et le IIIe s. av. J.-C., alors que la chronologie des vases modelés va de la fin du VIe et le IIIe s. av. J.-C. Enfin, les lampes à huile sont toutes datées entre la première moitié et le dernier quart du Ier s. ap. J.-C<br>The thesis analyzes the collection of terracottas of Raffaele Gargiulo (1785-after 1864), ceramist and restorer, leading figure of the Museum of Naples, neapolitan merchant of antiquity in the twenties and thirties of the 19th century. The proposed sale to the Museum of Naples of his collection is made in December 1852, but only after more than two years of hard deals it comes to the purchase on May 29th, 1855, for 6000 ducats. In order to understand the figure of Gargiulo as merchant of art 315 documents, kept in the State Archive of Naples and in the Historical Archive of the Archaeological Superintendence of Naples, have been analyzed. By the study of 11 royal decrees dated between 1807 and 1852 the legislative framework in force at the time was rebuilt, as part of the trade and export of archaeological and art objects. In the Gargiulo’s collection of terracottas the little plastic (443 specimens, 73.88%) is the most documented class, accounting for about three-quarters of the collection. About the provenances, Apulia and Campania with 578 items, the 95.54%, prevail. At the top lie the towns, both in Apulia (Gnathia, Ruvo and Canosa) and Campania (Capua and Cales), most famous for the coroplastic products. If the architectural material is dated from the end of the 6th century BC to 1st century AD, the coroplastic material lies mostly between the mid-4th century BC and the end of the 3rd BC. The pottery ranges between the 4th century and 3rd century BC, especially the plastic and polychrome decoration and the achromatic ceramic; the chronology of plastic vessels is more varied, between the late 6th and 3rd centuries BC. The lamps, finally, are dated to 1st century AD<br>La tesi analizza la collezione di terrecotte di Raffaele Gargiulo (1785-post 1864), ceramista e restauratore affermato, figura di primo piano del Museo di Napoli, grande mercante napoletano di antichità degli anni Venti e Trenta dell'Ottocento. La proposta di vendita al Museo di Napoli della sua collezione viene fatta nel dicembre del 1852, ma dopo oltre due anni si giunge all'acquisto, il 29 maggio 1855, per seimila ducati. Per inquadrare la figura del Gargiulo come mercante di opere d'arte sono stati analizzati 315 documenti custoditi nell'Archivio di Stato di Napoli e nell'Archivio Storico della Soprintendenza Archeologica di Napoli. Attraverso lo studio di 11 regi decreti tra il 1807 e il 1852 si è ricostruito il quadro legislativo in vigore all'epoca nell'ambito del commercio e dell'esportazione di reperti archeologici e oggetti d'arte. Nella collezione Gargiulo di terrecotte la piccola plastica (443 esemplari, pari al 73.88%) è la classe più documentata, rappresentando circa i tre quarti della collezione. Tra le provenienze prevalgono la Puglia e la Campania con 578 oggetti, il 95.54%. Ai primi posti si collocano le località, sia pugliesi (Egnazia, Ruvo e Canosa) che campane (Capua e Cales), più celebri per i prodotti coroplastici. Se il materiale architettonico va dalla fine del VI a.C. al I d.C., quello coroplastico si colloca per lo più tra la metà del IV e la fine del III a.C. La ceramica spazia tra il IV e il III secolo a.C., soprattutto per la ceramica a decorazione plastica e policroma e per quella acroma, più varia è la cronologia dei vasi plastici, tra la fine del VI e il III a.C. Le lucerne, infine, si datano nell'ambito del I secolo d.C

La recherche a analysé la figure éclectique de Raffaele Gargiulo, marchand d'antiquités célèbre en Europe, collectionneur, personnage complexe et controversé de l'histoire du Musée de Naples, dans le monde des Antiquités napolitaines de la première moitié du XIXème siècle. À partir de sa collection d’objets provenant de la Grande-Grèce; l'une des plus riches du Musée de Naples, et en examinant en particulier les vases peints, nous avons analysé ses méthodes de travail ainsi que ses techniques de restauration, les matériaux qu’il a utilisés et les choix qu’il a faits pour reconstruire et comprendre les critères qui ont guidé la pratique de la restauration des vases du musée Royal Bourbon dans la première moitié du XIXème siècle. La recherche a analysé les événements historiques qui ont conduit le Musée Royal à acheter l’intégralité de la collection de Raffaele Gargiulo et, en particulier, sa collection de vases. Le travail effectué est accompagné de documents d'archives qui illustrent les longues négociations concernant l'achat des matériaux, commencé en 1852 et achevé en 1855 et renseignent sur les tendances et les choix effectués par le Musée Royal de Naples en étroite collaboration avec la Commission des Antiquités et des Beaux-Arts. L’enquête a permis d’en savoir plus sur le restaurateur-marchand qu’était R. Gargiulo et sur les relations qu’il entretenait avec les personnes impliquées dans ces affaires. En partant des sources bibliographiques, des anciens inventaires et des documents d’archives, nous avons identifié les vases de la collection Gargiulo (environ 481 vases) et tous les “vases Gargiulo" achetés par le Musée de Naples. Nous avons compilé le catalogue des vases, en les classant par type de céramique et en rédigeant une fiche pour chacun d’eux. À travers le catalogage des vases, qui a permis la reconstruction de la collection, nous avons cherché à identifier et à mettre en évidence les goûts du collectionneur R. Gargiulo mais aussi des personnes impliquées dans les choix (ministre, directeur du Musée, experts), qui ont déterminé un certain style pour les collections du Musée de Naples<br>The research focuses on the eclectic figure of Raffaele Gargiulo, who was a dealer, an expert, a restorer, a collector, a controversial figure in the history of the Naples Museum and Neapolitan antiques market in the first half of the nineteenth century. Starting from his collection of antiquites, one of the richest coming from Magna Graecia and which arrived in the Naples Museum, we have primarily examined the vases and have tried to analyze the restoration methods, the materials used and the choices made to reconstruct the criteria that guided the practice of the vases restoration in the Royal Bourbon Museum in the first half of the nineteenth century. The research analyzes the historical events that led to the purchase, by the Museum, of Raffaele Gargiulo’s collection, focusing mainly on the study of the vases collection. The research, enriched by archival documentation aimed at illustrating the long negotiation in the acquisition of the objects, which began in 1852 and ended in 1855, has shown the judgements and the choices made by the Neapolitan Museum in cooperation with the Commissione di Antichità e Belle Arti. Furthermore, it has contributed to define the figure of the restorer-dealer Gargiulo and his relationship with the people interested in the deal. A combination of archival documentation, old inventories and surveys in the Museum’s stores has allowed us to identify the Gargiulo’s vases collection (about 481 vases) and all the "Gargiulo’s vases" in the Museum. The vases catalogue has been created, in order to classify them according to type of ceramic, with an individual file for each vase. Thanks to the catalogue, which has aimed to the reconstruction of the collection, we have been able to highlight the aspects related to the criteria and to the taste of the collector Gargiulo and of the figures involved (Minister, Director of the Museum, experts, etc.). They have all contributed to the enrichment of the collections of the Naples Museum through the variety of artifacts and provenance from different locations in the Naples Kingdom.The research has also investigated the figure of the restorer Gargiulo, his "career" and his activities at the «Officina dei Vasi Italo-greci» of the Naples Museum. The restoration methods have been analyzed on some vases that still preserve the ancient interventions, focusing on a comparative study between old photos and archival documentation<br>La ricerca ha analizzato l'eclettica figura di Raffaele Gargiulo, commerciante, abile restauratore, collezionista, figura controversa nella storia del Museo di Napoli e dell’antiquaria napoletana nella prima metà del XIX secolo. Partendo dalla sua collezione, una delle raccolte più ricche di materiali di provenienza magnogreca mai giunte nel Museo di Napoli, esaminando in particolare i vasi, si è cercato poi di analizzare i metodi di restauro, i materiali adoperati e le scelte attuate per ricostruire e comprendere i criteri che guidarono la pratica del restauro dei vasi del Museo Borbonico nella prima metà dell'Ottocento. La ricerca ha analizzato le vicende che hanno portato all’acquisizione da parte del Museo Borbonico della collezione di Gargiulo nella sua totalità e, in particolare, della collezione vascolare. Il lavoro, corredato da documenti archivistici volti ad illustrare la lunga trattativa nell'acquisizione dei materiali, iniziata nel 1852 e conclusa nel 1855, ha messo in evidenza le valutazioni, le tendenze e le scelte operate a Napoli presso il Museo in stretto rapporto con la Commissione di Antichità e Belle Arti e ha contribuito a delineare la figura del restauratore-commerciante Gargiulo e il suo rapporto con le figure che, più o meno appassionatamente, si interessarono alla vicenda.Sono stati individuati, sulla base delle fonti, degli antichi inventari e dei documenti archivistici, i vasi della collezione Gargiulo (481 vasi ca.) e tutti i “vasi Gargiulo” immessi nel Museo. Si è redatto il catalogo dei vasi, diviso per classi ceramiche e con la redazione di singole schede per ogni vaso. Attraverso il catalogo e quindi la ricostituzione della collezione, si sono potute individuare, nella sua varietà di classi ceramiche e di provenienze, gli aspetti relativi ai criteri e al gusto di Gargiulo e delle figure coinvolte (Ministro, Direttore del Museo, esperti, etc.) che hanno determinato anche una scelta di gusto e di rappresentatività per le collezioni del Museo di Napoli. La ricerca ha anche preso in esame la figura del restauratore Gargiulo, la sua “carriera” e la sua attività presso «l’Officina dei Vasi Italo-greci» del Museo di Napoli. Si sono esaminati i metodi di restauro su alcuni vasi che ancora conservano gli interventi antichi, anche attraverso uno studio comparativo tra le foto antiche e i documenti di archivio

Defence date: 9 September 2013<br>Examining Board: Professor Federico Giovanni, European University Institute (Supervisor) Professor Bartolomé Yun-Casalilla, European University Institute Professor Fabio Sánchez Torres, Universidad de los Andes (External Supervisor) Professor Joan Rosés, Universidad Carlos III de Madrid.<br>PDF of thesis uploaded from the Library digital archive of EUI PhD theses<br>During the 19th century Export Economy had consequences on land markets. In this way, some "institutional arrangements” in land property rights were required, which had consequences on land prices, distribution and ownership. Due to the difficulty for collecting quantitative information, they are few quantitative writings about land for the case of Colombia. In this sense, the aim of this work is to understand, through quantitative information, the importance that land and land property rights had in Colombian history and its current economic performance. I will take into consideration the Region (Departamento) of Cundinamarca. As primary sources I used the information contained in the Cadastres Surveys made in 1878 and in 1890 and in the land deeds taken from the office of Notaría I in Bogotá (1868-1900). Based on this quantitative information this book is composed by three chapters. First chapter reveals that in Cundinamarca land was distributed in an unequal manner (land gini were quite high). Nevertheless, this research goes beyond this result of land inequality. In fact, contrary to the traditional neo-institutionalism point of view this research proves that land concentration not necessarily led to bad economic outcomes but that may lead to good or bad outcomes in human capital accumulation, depending on the institutional context. The second chapter that composes this research is about the trend of "urban” land prices in Cundinamarca (1868-1900). In this chapter I estimated a deflated series of land prices using the information of the Notaryś I office from Bogotá. The last chapter analyzes the relationship between Export Economy, land ownership, prices and distribution (Gini).

Defence date: 5 June 2017<br>Examining Board: Prof Lucy Riall, European University Institute (Supervisor); Prof Ann Thomson, European University Institute (Second reader); Prof Alan S. Kahan, Université de Versailles Saint-Quentin-en-Yvelines; Dr David Todd, King’s College London<br>This thesis investigates liberal responses to French expansionism during Napoleon III’s Second Empire, focusing on three of its main imperialist ventures in the late 1850s and the 1860s: Algeria, a colony inherited from the times of Charles X, whose colonisation received a great boost in the 1860s; Cochinchina, the main step of France’s imperialism towards Asia; and Mexico, Napoleon III’s personal dream for France in America, started as the alleged greatest project of the Empire which, however, ended in great failure. The focus of this study is not on individuals generally acknowledged as main liberal thinkers, politicians or philosophers but on a group of less-celebrated individuals who developed their professional activity both in parliament (the Corps législatif) and the press. The aim is to highlight how liberal languages and discourses in their specific context contributed to the development and the shaping of liberal thinking and political culture in the 1860s with regard to imperial expansionism. This dissertation seeks to tie in with the historiographical trend which sees intellectual and political history not as distinct fields, but as two inseparable sides of the same coin. In a period in which the Second Empire was experiencing a process of increasing internal liberalisation in a number of political, social and economic fields, the Empire’s means of repression and social control were still active. Censorship was commonplace in 1860s France, making it very difficult for those opposing the regime to express their ideas and concerns. However, thanks to several steps made towards opening up the regime politically from 1860 onwards, opposition deputies—including especially the liberals—were able to express in parliament their claims and objections. Whereas some social issues remained difficult to tackle, I argue that liberals found in the Empire’s imperialist endeavours an appropriate space to channel their dissatisfaction with the Bonapartists’ way of conceiving, ruling and managing the country. The Second Empire’s colonial project on all continents fostered an intense ideological debate that transcended the borders of a simple partisan confrontation. It rather revealed the existence of two political cultures in quest of social legitimation: liberal and Bonapartist. This thesis aims to bring together a history of nineteenth-century French imperialist ventures and a history of modern liberal political culture. No scholarly works have focused on the way in which French liberal thinkers, politicians or publicists imagined their empire in the 1860s, how they responded to Napoleon III’s will to expand France’s power and influence across oceans and continents with an intensity never seen before. This dissertation contributes to filling in this gap by tackling the liberal response to French expansionism with regard to three thematic areas: the role of France in the world; trade and finances; and religion. European politics aside, overseas ventures marked France’s foreign policy in the 1860s. The Second Empire’s project to expand France’s influence in the world through various systems of domination and control over peoples on virtually all continents became an issue of political debate that all forces of opposition, namely liberals, could not escape. Imperialist ventures became an important issue of political debate under the Second Empire and acted as a sort of 'hegemony' that liberals needed to confront, either opposing or supporting it. In this thesis, I argue that they did so, taking the opportunity to use the debates on expansionism in their own favour. Through discussing a wide range of social, economic and political topics related to France’s imperialism in Africa, Asia and America during the 1860s, liberals succeeded in presenting to the public an alternative model of government to the one represented by the Bonapartists in power.

碩士<br>國立臺灣師範大學<br>音樂學系<br>105<br>Mélodie originated from the 18th Century Romance. The themes of the lyrics in Romance are mostly related to history, pastures, or sorrowful emotions. Because of the Parnassism influence in the 19th century, the poets eschewed the influences of the subjective perspectives of the Romantics, and daringly undertook the objective narrative and the narrative of exotic countries. One discovers that when selecting poems, the composers usually use Parnassism poems that are easy to orchestrate and evoke the characteristics of the animals. This thesis looked into the nine animal-related titled French art songs of four composers between 1865 to 1890, which include: La coccinelle and Le rossignol composed by Camille Saint-Saëns (1835-1921), La coccinelle composed by Georges Bizet (1838-1875), Ballade des gros dindons, Les cigales, Pastorale des cochons roses and Villanelle des petits canards composed by Emmanuel Chabrier (1841-1894), and finally, Les papillons and Le colibri composed by Ernest Chausson (1885-1899). These works of the famous French poets of the 19th century. They are Victor Hugo (1802-1885), Théodore de Banville (1823-1891), Edmund Rostand, (1868-1918), Rosemonde Gérard (1866-1953), Théophile Gautier (1811-1872) and Charles Leconte de Lisle (1818-1894). From these nine songs, the poems are generally with regular rhyme schemes, fluid rhythms and musical phrases. The topics generally express the realistic characters with a metaphorical manner or a parody instead of simply portrays the scenery or animals. The structures of the pieces are either through-composed or strophic, the composers liked to utilize motifs or themes to present the movements, sounds, or characters of the animals, and to unite the musical ideas. The composers used similar figure for the animals’ movements, used notes on the same pitch in voice melody or the piano part to represent a speech mannerism or inner thoughts of a person, used melismatic passages to paint the different character of the animals. The composers used sequences to heighten the ambience or build up to a climax, and sometimes quote phrases from predecessors as a way of allusion. The accompaniment usually relays the ends of the singer’s phrases or creates different settings in the song. These works are with repetitive musical figures or phrases. The overtly repetition create a comical effect, leaving a strong impression on the way it was utilized, making these mélodies different from the elegant ones. All these characteristics were prominent features of the French mélodie during this period. These works focus upon animal-related titles, therefore the interpretation of the humorous songs should be more animated than others, and also increase the conversion of tone. The singer must quickly immerse oneself in the narrative, using facial expressions and appropriate body movements to express the humor in the lyrics, in order to fully express the atmosphere that the composer had intended.

In this diploma thesis, we are focusing on the historical development of the locative case and its variety in Russian language, especially in 19th and 20th century Russian. Based on our knowledge from the theoretical part we analyzed samples from national corpus of Russian language. Words, which can use the second locative case, were divided into three groups. We found out that approximately during 1930's appeared evidence of change in use of the local case ending. This is described by the results from the analysis of the lexemes of the first group, where is the use of the second locative obligatory. We also found out, that in the group, where use of locative endings varies, there are some tendencies to distinguish the meaning of the lexemes with the local case endings. In the third group, where the local case endings distinguish meaning of the word, we can claim that there are evidence of the tendencies to unify meaning of the nouns in the local case. Therefore, the choice of the ending does not strictly determine the meaning of the word. Keywords Declension; noun; Russian; second locative; 19th century; 20th century; corpus linguistics

This dimploma thesis deals with the contemporary context of the social and cultural relations in Bohemia in the second half of 19th century and at the begining of 20th century. The thesis highlights essential personalities of those times as they were seen through the prism of musical life within the boundaries of leading musical institutions of those times. Furhtermore the thesis refers to relations of these giants with Josef Suk and focuses on Suk's piano compositions in detail within the context of his complete works.

The diploma thesis outlines the history of the small district town in the second half of the 19th century from a political (government, local government, modernization), economical (transport, especially railways, industrial development) and cultural (socials, social activities, theatre, festivities) point of view. Attention is paid to social, national and religious problems and education. Included are also some portraits of the most prominent personalities of the town. Special Attention is paid to Austro-Prussian war (conflict between Austria and Prussia) in 1866 and on the impact of this exceptional event on people and life in the town. The work is based on archival materials stored in State district archive in Mladá Boleslav and Mnichovo Hradiště Municipal museum, local chronicles, handwritten memories of the local citizens and contemporary regoinal newspapers were taken into account as well as historical works of a synthetic character.

Defence date: 9 October 1992<br>Examining board: Prof. Heinz-Gerhard Haupt, IUE ; Prof. Daniel Roche, Paris I (supervisore esterno) ; Prof. Raffaele Romanelli, Università di Pisa ; Prof. Robert Rowland (supervisore) ; Prof. Pasquale Villani, Università di Napoli<br>First made available online: 16 October 2015

Defence date: 19 December 1997<br>Examining board: Prof. John Krige, CRHST, Cité des Sciences, Paris; Prof. René Leboutte, IUE, Florence; Prof. Dominique Pestre, EHESS, Paris; Prof. Jameis Reis, IUE, Florence<br>First made available online on 12 June 2017<br>'Que l'on compare l'agriculture nationale à celle d'autres puissances, ou que l'on dissèque le commerce des produits alimentaires ; on arrive à une même conclusion : l'agriculture souffre d'un retard technique maintenant la productivité du sol et du travail à un faible niveau si bien que les prix de revient restent élevés et ne sont aucunement compétitifs'. C'est ainsi qu'Armand Wallon résumait en 1976 les résultats d'analyses macroéconomiques concernant l'agriculture française du troisième tiers du xixe siècle et que l'on a longtemps caractérisés par l'expression forte de 'retard agricole français'. Cette constatation de la faiblesse des productivités de l'agriculture française de cette époque, en comparaison avec celles obtenues par l'Angleterre et l'Allemagne notamment, a suscité de multiples explications au cours des années 1950, 1960 et 1970. Pour les historiens anglo-saxons, qui ont une approche qui associe l'économie à la démographie sous un angle résolument comparatif', la France n'aurait pas connu de poussée démographique suffisamment forte pour pouvoir stimuler de manière significative son agriculture. De même, la croissance de la population urbaine n'aurait pas été assez importante pour engendrer un déséquilibre avec la population rurale si conséquent qu'il ait pu générer une intensification de l'agriculture. Ces historiens soulignent aussi le handicap qu'aurait constitué la petite exploitation française et lui opposent la réussite, en terme économique, du grand domaine anglais. L'historiographie rurale française s'est aussi beaucoup intéressée à ce phénomène'. Les explications qu'elle a apportées sont d'ordres psychologique, économique, social et politique. Les paysans français auraient tout d'abord été méfiants vis-à-vis du progrès et atteints d'un mal particulier, la fierté du propriétaire, qui leur aurait fait préférer l'achat de terrains à l'amélioration des terres qu'ils possédaient déjà. Ensuite, la petite exploitation que l'on oppose, là encore, au modèle du grand domaine anglais est mise en accusation: le grand nombre de Inini-exploitations qui n'auraient pas été des entités économiquement viables aurait ralenti l'essor de l'agriculture française.

Defence date: 19 October 2001<br>Examining board: Prof. Renata Ago, Università di Roma ; Prof. Angiolina Arru, Istituto Universitario Orientale, Napoli ; Prof. Laurence Fontaine, EUI (supervisor) ; Prof. Gian Giacomo Ortu, Università di Cagliari<br>PDF of thesis uploaded from the Library digitised archive of EUI PhD theses completed between 2013 and 2017

Presented theses deals with the phenomenon of death in the second half of 19th century on the example of the area around the Cheb town. The source base is made up by information of Christian registers of deaths, by prescriptive regulations and tangible evidences. As a main methodological basis the Historical Demography was chosen,but the other approaches were used as a Historical Anthropology and Art History. The most important emphasis was oriented on getting results from statistical research. The index of death issues was researched from several circumstances. Not only the data of approximate Life expectancy, infant mortality and seasonal movement was reached but also the analysis of the causes of death was made. The attention was oriented on infectious diseases too. The question of spread of epidemics is given into the wider context in the subsequent chapter, which is devoted to influence to prevent the gradual lengthening of life expectancy. The attention was devoted to the analysis of preserved tombstones from the 2nd half of 19th century on the base of fieldwork. The artifacts were assessed from the point of view of artistic representation. The epitaphs were recorded too for the identification of specific persons. The end of this topic was the thought of vandalism of modern time and the importance of preservation of the testimonial of funeral culture. The main aim of presented theses is to find out, what were the mortality situations at the monitored period but also the changes of funeral rite influenced by emancipation of bourgeois society. The connection with early modern period tradition of colossal noble funeral ceremony was pointed out. The complexity was amplified by the analysis of the term ?the Death? presented on the pages of Glossaries from that time and by the excursion into the folk?s habits connected with the end of life journey of rural population. For obtaining the complete view, there was necessary to work not only with results of statistics, but also to consider the interdisciplinary approach.

Defence date: 25 June 2002<br>Examining board: Prof. Antonio De Francesco, Università di Milano ; Prof. Gérard Delille, Istituto Universitario Europeo (Supervisore) ; Prof.ssa Laurence Fontaine, Istituto Universitario Europeo (Supervisore) ; Prof. Guido Pescosolido, Università di Roma "La Sapienza"<br>PDF of thesis uploaded from the Library digitised archive of EUI PhD theses completed between 2013 and 2017

Defence date: 7 December 1996<br>Examining Board: Prof. Laurence Fontaine, Istituto Universitario Europeo ; Prof. Piero Innocenti, Università degli studi, Viterbo ; Prof. Dominique Julia, Ecole des hautes études, Parigi (supervisor) ; Prof. Daniel Roche, Université de Paris I ; Prof. Carlo Maria Simonetti, Università degli studi, Potenza<br>PDF of thesis uploaded from the Library digitised archive of EUI PhD theses completed between 2013 and 2017

Defence date: 30 November 1992<br>Examining board: Prof. Pietro Corsi, Università di Firenze ; Prof. Luisa Mangoni, Università di Trento ; Prof. Brigitte Mazohl-Wallnig, Università di Strasburgo ; Prof. Giuseppe Olmi, Università di Trento (supervisore esterno) ; Prof. Stuart Woolf, IUE (supervisore)<br>First made available online: 13 June 2016

In the context of current discussions about gender and feminism this works tries to look deeper into the question of gender in translatology where gender in particular takes on the double role - on the one hand the role of grammatical gender in its linguistic form and on the other the role of social gender construction with regards to the person who translates. The aim of this work apart from the theoretical insight in the connected domains is mainly to assemble a concise overview of translations from French written by the Czech female translators in the second half of the 19th century. Additionally, the work also treats the question of Czech emancipation movement and contributes at least with basic biographical information to the knowledge of mentioned female translators. The acquired data for the overview of translations from French were assembled in the form of bibliographical index which reflects both translations published as books and in the periodical press for each of the female translators. The results of this work allow to consider one chapter of Czech history translation from the "female point of view" and at the same time might serve as a basis for further research in this field.

This thesis is focused on the history of the parishes of Třebíč up to the 20th century. It describes the events and the life of the parishes in Třebíč in that time period. The first five chapters report on the history and the religious, cultural and economic life in Třebíč. The sixth chapter is devoted to the era of the First World War. The seventh chapter introduces the personalities of Třebíč who were persecuted by the political regime of that time. A pictorial inset, which complements the study, is a part of this thesis.

Diplomová práce přináší příspěvek k problematice inspirace historické prózy devatenáctého století odbornou dějepisnou literaturou. Jejím úkolem je zhodnocení provázanosti Palackého husitské koncepce s vybranými dvěma povídkami Josefa Kajetána Tyla, jejichž děj je situován do první poloviny patnáctého století v Čechách. První část diplomové práce uvádí stručnou charakteristiku obou autorů a jejich tvorby s historickou tematikou. Následující teoretická kapitola je věnována pohledu na husitství v devatenáctém století. Druhá část práce je zaměřena prakticky, neboť vedle srovnání výkladu dějin oběma autory také obsahuje subjektivní interpretaci literárních kvalit postav a okolností, jež si Tyl domýšlí.

Le projet consacré à la statique graphique étudie un aspect jusqu'ici peu exploré de l'histoire technique tchèque de la seconde moitié du XIXème au début du XXe siècle, lorsque les pays tchèques ont joué un rôle de premier plan en matière de technologie dans l'ancienne monarchie autrichienne. Une part du projet a permis de révéler le transfert de cette méthode de calcul en pratique d'ingénierie depuis son lieu d'origine, France et Suisse, vers les pays tchèques, et la contribution originale du milieu tchèque dans ce domaine. Le transfert de la statique graphique vers les pays tchèques fut effectué après sa formation dans la seconde moitié des années 1860. Le transfert culturel a prospéré grâce à la diffusion de la presse et des livres publiés principalement en allemand et, bien sûr, grâce aux contacts personnels étroits entre les conférenciers des écoles polytechniques européennes, en particulier des langues allemandes. La thèse contient également des exemples d'importants bâtiments historiques tchèques, pour lesquels la statique graphique a été utilisée pour calculer la structure. Ces calculs sont illustrés par la documentation archivistique, qui n'a pas encore été publiée. Une part de la thèse est également consacrée à la comparaison de deux méthodes de calcul de déformation des treillis (système triangulés). La première est la méthode du français V.-J. Williot, qui a été publiée en août 1878. La seconde est la méthode du professeur tchèque V. Bukovsky de janvier 1879. Comme il n'existe à l'heure actuelle aucune étude détaillée portant sur Victor-Joseph Williott ( 1843-1907), certains documents d'archives jamais publiés ont été recherchés pour illustrer sa vie<br>The project of graphic statics is studying a heretofore little explored part of the Czech technical history of the second half of the 19th, and beginning of the 20th centuries, when the Czech lands held a leading role in technology in the former Austrian Monarchy. A part of the project is to reveal the transfer of this computational method in engineering practice from the place of its origin, France and Switzerland, to the Czech lands, as well as original contribution of the Czech millieu to this field. The transfer of graphic statics to the Czech lands came very soon after its formation in the second half of the 1860' s. Cultural transfer prospered thanks to the distribution of press and books published mainly in German, and, of course, thanks to the close persona) contacts among lecturers at European, especially German-speaking, polytechnic high school! The thesis also contains examples of significant Czech historical buildings, for which graphic statics was used to calculate the structure. These calculations are illustrated by archival documentation, which has not yet been published. A special part of the thesis is a comparison of two calculation methods of deformation of trusses. The first one is the method of French V.-J. Williot, which was published in August 1878. The second one is the Czech professor V. Bukovsky's method of January 1879. As no more detailed information was known about Victor-Joseph Williott ( 1843- 1907), some never published archival documents were searched to illustrate his life

Temat gabinetów osobliwości jak dotąd cieszył się zainteresowaniem przede wszystkim badaczy kultury i literatury renesansu, zwłaszcza historyków sztuki zajmujących się dziejami kolekcjonerstwa europejskiego. Jest to zrozumiałe o tyle, że epoka kultury ciekawości była czasem, w którym powstawały pierwsze wunderkamery erudytów. W pracy przyjmuję założenie, że w XIX wieku, a zwłaszcza w jego drugiej połowie, zaistniały warunki do ponownego rozwoju tej formy ekspozycji, która ze sfery arystokratycznych kolekcji przeniosła się przede wszystkim do kultury popularnej i literatury. Celem mojej rozprawy jest opisanie i poddanie interpretacji różnych form obecności gabinetów osobliwości w literaturze drugiej połowy XIX wieku w kontekście kulturowym. Gabinet osobliwości rozumiem jako kolekcję przedstawiającą pomniejszony obraz świata, której konstrukcja zasadza się na przekonaniu, że uniwersum najlepiej reprezentuje to, co unikatowe, rzadkie, osobliwe. Stawiam tezę, że zainteresowanie osobliwościami było konsekwencją wartości wyznawanych przez XIX-wieczną formację kulturową oraz umożliwiało badanie i opisywanie zagadnień pozornie znajdujących się poza obszarem refleksji pozytywizmu, naturalizmu czy scjentyzmu. Przyjmuję, że „osobliwość” jest pojęciem funkcjonalnym w takim znaczeniu, że więcej niż o przedmiocie, mówi o oglądającym, dlatego z jednej strony badam, w jaki sposób XIX-wieczni autorzy przedstawiali swoją epokę za pomocą figury gabinetu osobliwości, z drugiej – rekonstruuję opowieści, które wyłaniają się z aktu patrzenia na to, co osobliwe. Niniejsza praca wpisuje się w kulturową historię literatury zarówno poprzez zakres tematyczny, jak i zróżnicowane instrumentarium badawcze, na które składają się narzędzia stosowane przez literaturoznawstwo, kulturoznawstwo i historię sztuki. Wśród analizowanych utworów znalazły się zarówno powieści, jak i opowiadania, opisy podróży, traktaty filozoficzne, naukowe i popularnonaukowe ukazane na tle przewodników turystycznych oraz artykułów prasowych. Kontekstem dla polskich tekstów są odpowiednio wybrane utwory literatury obcej. Konstrukcja pracy oddaje różne etapy obiegu osobliwości w kulturze i literaturze. W pierwszym rozdziale poddaję interpretacji teksty podróżnicze powiązane z realnie istniejącymi kolekcjami osobliwości. Ich autorami są zarówno pisarze (Józef Ignacy Kraszewski, Sygurd Wiśniowski), jak i uczeni (Karol Darwin, Konstanty Jelski, Benedykt Dybowski) oraz kolekcjonerzy (Michał Tyszkiewicz). Sprawdzam, w jaki sposób badali i opisywali napotkane osobliwości, a zebrane przez nich eksponaty zestawiam z atrakcjami turystycznymi (w rozumieniu Deana MacCannella) i pamiątkami (w rozumieniu Anny Wieczorkiewicz). W rozdziale drugim i trzecim koncentruję się na przedstawionych w literaturze miejscach (w rozumieniu Elżbiety Rybickiej), w których badano, eksponowano i sprzedawano osobliwości, czyli odpowiednio: gabinetach naukowych (m.in. Sartor Resartus, Niewidzialny, Mistrz Twardowski, Xiądz Faust, ale też realne laboratoria Tesli, Szczepanika i Ochorowicza), prywatnych (m.in. Kuzyn Pons, Pan Major, The Spoils of Poynton) oraz magazynach osobliwości (m.in. Magazyn osobliwości, Lalka, Jaszczur, Złota czara). Interpretacje podporządkowane są trzem podstawowym perspektywom: praktyki, poetyki i polityki (wg Susan Pearce) zbierania, pokazywania i oglądania osobliwości. Zaprezentowane w tekstach eksponaty czytam, wzorem kolekcjonerów, metonimicznie (wg Elaine Freedgood). O ile w pierwszych trzech rozdziałach koncentruję się przede wszystkim na osobliwych rzeczach, o tyle ostatni rozdział poświęciłam osobliwościom ludzkim, wystawianym w gabinetach, które należały do wielkomiejskiej kultury atrakcji (od panoptikum po seanse spirytystyczne). Sprawdzam, jakie sensy nadawano ludzkim ciałom w różnych dyskursach, w które wpisywane były osobliwości (wg Anny Wieczorkiewicz). Interpretowane teksty potwierdzają szeroką obecność gabinetów osobliwości w XIXwiecznej literaturze i kulturze oraz żywe zainteresowanie tym, co niezwykłe, niepoznane, niewidzialne. Osobliwość, która podlega oglądowi, badaniu, eksperymentom, umożliwia wprowadzenie „niezwykłości” charakterystycznych dla fantastyki w przestrzeń realizmu, znosząc tym samym ostrą granicę między idealizmem a materializmem, religią a nauką, faktem a cudem; staje się katalizatorem nowoczesności. Przedstawione kolekcje generują własne opowieści o wieku XIX, wpisujące się w poetykę osobliwości, która operuje specyficznymi: środkami wyrazu, konstrukcją narracji i formą tekstu. Wśród opowieści odczytanych z literackich gabinetów osobliwości na plan pierwszy wysuwają się te o powszechnym powinowactwie, o melancholii i utopii oraz o nowoczesnej normie. To jednocześnie opowieści silnie uwikłane w dyskurs klasowy, narodowy i konsumpcyjny. Poprzez eksponowanie osobliwości silnie akcentują, co jest uznawane za normalne, jednak normalność nie stanowi tu atrakcyjnego wzorca. Kontakt z osobliwym umożliwia emancypację ze sztywnych ram społeczeństwa mieszczańskiego i uczestnictwo w kulturze tworzonej przez geniuszy i ekscentryków: podróżników, artystów, uczonych i kolekcjonerów. W swojej pracy chciałam pokazać, że zwrot ku osobliwościom następuje w czasach intensywnego rozwoju nauki, techniki, nowych odkryć, które podkopują dotychczasowe paradygmaty i denaturalizują dotychczasowy obraz świata. Osobliwości pomagają ten obraz na powrót pozszywać w całość, tworząc pomost między przeszłością, nowoczesnością i przyszłością.<br>So far, cabinets of curiosities have been studied mainly by researchers of Renaissance culture and literature, especially art historians dealing with the history of European collecting. This is understandable, because the age of curiosity was the time when the first erudite wunderkammers were created. In my dissertation, I assume that in the nineteenth century, and especially in its second half, the conditions arose for the re-development of this exhibition form, which in turn entailed its transference from an organising principle of aristocratic collections to the contexts of popular culture and literature. The aim of my dissertation is to describe and interpret the various manifestations of cabinets of curiosities in the literature and cultural context of the second half of the 19th century. I understand cabinets of curiosities as collections presenting a microcosm, the design of which is based on the belief that the universe is best represented by those things that are unique, rare, and peculiar. I argue that the interest in curiosities was a consequence of the values which permeated the cultural formations of the nineteenth-century and functioned so as to enable exploration and description of issues which seemingly neither positivism, naturalism nor scientism were capable of reflecting. I assume that "curiosities" is a functional concept, in the sense that it describes the viewer rather than the object. From this point of view I study both how nineteenth-century authors portrayed their epoch using this figure, and the kinds of stories we can reconstruct from examining curiosities. This work is part of the cultural history of literature both in the sense of its thematic scope and the diverse research instruments it deploys. Among the latter are tools used by literary studies, cultural studies, and the history of art. Works that inform the analysis include novels as well as short stories, travel descriptions, philosophical treatises, scientific and popular science texts, tourist guides and newspaper articles. Foreign literature provides the context for the Polish texts studied. 1 The structure of the work reflects various aspects of the circulation of curiosities in culture and literature. In the first chapter, I interpret travel texts related to real-life collections of curiosities. Their authors included writers (Józef Ignacy Kraszewski, Sygurd Wiśniowski), explorers (Karol Darwin, Konstanty Jelski, Benedykt Dybowski), and collectors (Michał Tyszkiewicz). I inquire into how they researched and described the curiosities they encountered, and how the exhibits they collected were related to tourist attractions (Dean MacCannell) and souvenirs (Anna Wieczorkiewicz). In the second and third chapters, I focus on the places presented in the literature (Elżbieta Rybicka) in which the curiosities were studied, exhibited and sold: scientific cabinets (including Sartor Resartus, Niewidzialny, Mistrz Twardowski, and Xiądz Faust, but also real Tesla, Szczepanik and Ochorowicz laboratories), private collections (including Cousin Pons, Pan Major, and The Spoils of Poynton) and magazines of curiosities (including The Old Curiosity Shop, Lalka, The Skin of Sorrow, and The Golden Bowl). I examine the texts from three basic perspectives: the practice, poetics and politics (Susan Pearce) of collecting, and the showing and watching of curiosities. In common with the collectors, I read the exhibits presented in the texts metonymically (Elaine Freedgood). While in the first three chapters I focus primarily on things, the last chapter is about human curiosities, exhibited in the cabinets that belonged to the metropolitan culture of attractions (from the panopticus to the spiritualistic séances). I examine the significances that have been attributed to human bodies in the various discourses in which curiosities were embedded (Anna Wieczorkiewicz). The interpreted texts confirm the widespread presence of curiosity cabinets in 19thcentury literature and culture, and a vivid interest in what is unusual, unknown, or invisible. The curiosities examined enabled and facilitated the introduction of that "uniqueness", characteristic of speculative fiction, to the realm of realism, thereby abolishing the sharp boundary between idealism and materialism, religion and science, fact and miracle; they became a catalyst for modernity. The presented collections tell their own stories about the nineteenth century, using the poetics of curiosities, which operates with specific means of expression, narrative construction, and textual forms. Among the stories from the literary cabinets of curiosities, there are those inspiring universal affinity, evoking melancholy and utopia, and embodying modern norms. At the same time, these stories are enmeshed in class, national and consumer discourses. Although by displaying curiosities, that which is to be considered normal is strongly signalled, normality nevertheless does not here assume an attractive guise. Contact with curiosities allows 2 emancipation from the rigid framework of bourgeois society and participation in culture created by geniuses and eccentrics: travellers, artists, explorers and collectors. In my dissertation, I show that the turn to curiosities takes place in a time marked by the rapid development of science and technology, and new discoveries that shake the existing paradigms and denature the current image of the world. Curiosities help this image to be sewn back together, creating a bridge between the past, modernity and the future.