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Walkowska-Boiteux, Joanna. "Auguste Couder, peintre d’histoire (1790-1873). Catalogue raisonné de l'oeuvre." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040093.
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Peintre d’histoire actif dès le début de la Restauration jusqu’au Second Empire, membre de l’Académie des beaux-arts et officier de la Légion d’honneur, Auguste Couder représente parfaitement toute une génération d’artistes reconnus de leur vivant, mais oubliés par la suite. Méconnue de nos jours, son œuvre, riche et variée, mérite pourtant d’être redécouverte. Elève fidèle de David, fortement marqué par l’enseignement de son maître, Couder se distingua en tant qu’un excellent dessinateur qui ne négligeait pas pour autant la couleur. Sollicité pour de nombreuses commandes officielles et privées, il réalisa un grand nombre d’œuvres inspirées tantôt de l’histoire – aussi bien antique que nationale, tantôt de la religion ou de la littérature. Peintre prolifique, exposant régulièrement aux Salons des années 1814-1848, il participa également à plusieurs travaux de décoration d’édifices civils et religieux. Pourtant, jusqu’à présent, sa création ne fit l’objet d’aucune étude. Cette thèse a pour objectif de combler cette lacune, en retraçant la carrière de Couder d’une part, et en établissant le premier catalogue raisonné de son œuvre, d’autre part. Comprenant près de 400 peintures et dessins, dont plusieurs sont inédits, ce catalogue met en évidence la richesse de la création artistique de Couder laquelle retrouve ainsi sa place dans l’histoire de la peinture du XIXe siècle<br>Auguste Couder, a historical painter active from the outset of the French Restauration to the Second Empire, a member of the Académie des beaux-arts (Academy of Fine Arts) and an Officer of the Legion of Honour, is a true representative of a whole generation of painters who were recognised as such during their lifetime but forgotten afterwards. Little known today, his works, abundant and varied, well deserve to be rediscovered. As a loyal student of David whose teaching greatly influenced him, Couder stood out as an excellent drawer but was nevertheless much interested in colours. He was commissioned numerous orders, from official and private sources, for paintings of a historical nature – both ancient and national – and inspired by religion and literature. A prolific artist, he participated regularly in the Salon held between 1814 and 1848 ; he also took part in several decorative works for official and religious edifices. Yet, his works have never been the subject of any study. The object of the present thesis is to remedy this situation by reviewing his whole career as well as drawing up, for the first time, a full descriptive catalogue of his works. This catalogue, which comprises some 400 paintings and drawings – several of which are unpublished, highlights the rich creation of Couder, reinstating him in the history of the 19th century arts
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Van, der Hoek Jessica. "The faithful and/or flattering in 19th Century portraiture." Master's thesis, University of Cape Town, 2013. http://hdl.handle.net/11427/13996.
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The nineteenth century's creation of different optical devices such as the camera obscura, the kaleidoscope and the thaumatrope signifies a change in the perception of vision at the time. The aim of this dissertation is to examine the work of four artists with reference to nineteenth century concerns surrounding vision. The scope for this examination is limited to the painted portraiture of Dante Gabriel Rossetti and John Singer Sargent and photographic portraiture of Julia Margaret Cameron and Félix Nadar Tournachon. Rossetti and Cameron represent two Victorian artists whose vision is turned inward to the imagination, with feelings of nostalgia and sentimentalism evoked in their portraits. This dissertation argues that the act of turning the eye inwards to the imagination is at the root of the flattering quality of these two artists' portraits. A further argument is that the sustained use of literary reference is the catalyst to the inward vision seen in these two Victorian artists' work. I examine Dante Gabriel Rossetti‟s later phase of idealised and "flattering" portraits of women in relation to the sonnets that Rossetti began to physically attach to either the frame or canvas of the portrait. The use of literary reference as catalyst to the inward vision is discussed namely through Julia Margaret Cameron‟s photographic portraits based on Alfred, Lord Tennyson's Enoch Arden. Cameron's allegorical and often mythological portraits of women are then analysed in order to establish the "flattering" quality of her portraits. With regards to the two artists who have been termed "faithful", an examination of their more outward vision and focus on the exterior realities is discussed. An exposition surrounding Félix Nadar Tournachon's "faithful" photographic portraits of nineteenth-century celebrities follows the discussion on Cameron. In order to further enquire into the notion of nineteenthcentury celebrities, an examination of John Singer Sargent follows. With the idea of Sargent being torn between the faithful and the flattering, I examine his more faithful Portrait of Madame X in relation to his later flattering celebrity portraits painted in the Grand Manner. In conclusion it will be suggested that Victorian and French ideas of vision and representation differed, exemplified by these four artists. These two very different perceptions of vision, one inward and the other outward, is the root of my distinction between the "faithful" and the "flattering" as manifested in portraiture.
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Lee, Sai-chong Jack, and 李世莊. "China trade painting: 1750s to 1880s." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B45015442.
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Hébert, Oriane. "La peinture d’Histoire en France sous le Second Empire libéral (1860-1870)." Thesis, Clermont-Ferrand 2, 2016. http://www.theses.fr/2016CLF20016/document.
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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
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Schuman, Samuel A. "Representation, Narrative, and “Truth”: Literary and Historical Epistemology in 19th-Century France." Oberlin College Honors Theses / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1621948796558803.
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Arenas, Erick G. "A historical Study of Charles Gounod's Messe Solennelle de Sainte-Cecile." Thesis, University of Oregon, 2004. http://hdl.handle.net/1794/23902.
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189 p.<br>Church music has been given relatively little scholarly attention in the study of nineteenth-century music. While there is an array of mass settings that were composed by Romantic-era composers, current musicological research marginalizes them. Paris was one location where a tradition of composing new masses continued well into the nineteenth century. While best known for his works for the stage, Charles Gounod (1818-1893) was a leading French composer of sacred music and one of the most prolific sacred composers of his time. His most important liturgical composition is the Messe solennelle de Sainte-Cecile, which once enjoyed considerable international success. This thesis focuses on the history of this mass in biographical and historical context. I discuss the topics of music and religion in France from the Revolution to Gounod's time, the composer's long musical relationship with the church, the music of the Messe de Sainte-Cecile, and its reception.
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Gill, Laura Fox. "Peripheral vision : the Miltonic in Victorian painting, poetry, and prose, 1825-1901." Thesis, University of Sussex, 2017. http://sro.sussex.ac.uk/id/eprint/72673/.
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This thesis explores the influence of John Milton on the edges of Victorian culture, addressing temporal, geographical, bodily, and sexual thresholds in Victorian poetry, painting, and prose. Where previous studies of Milton's Victorian influence have focused on the poetic legacy of Paradise Lost, this project identifies traces of Miltonic concepts across aesthetic borders, analysing an interdisciplinary cultural sample in order to state anew Milton's significance in the period between British Romanticism and early twentieth-century critical debates about the value of Paradise Lost. The project is divided into four chapters. The first explores apocalyptic images and texts from the 1820s-Mary Shelley's The Last Man (1826) and the paintings of John Martin-in relation to Miltonic aetiology and eschatology. These texts offer a complex re-thinking of the relation between personal loss and universal catastrophe, which draws on and positions itself against prophecy and apocalypse in Paradise Lost. In the second chapter I address conceptual connections that cross boundaries of medium and nationality, identifying the presence of a Miltonic notion of powerful passivity in the writing and marginalia of Herman Melville and the paintings and anecdotal appendages of J. M. W. Turner. In the third chapter I consider Milton's importance for A. C. Swinburne's poetic presentation of peripheral sexualities, identifying in Milton's poetry a pervasive metaphysics of bodily 'melting' or 'cleaving' which is essential to Swinburne's poetic project. The final chapter analyses the presence of the Miltonic in the fiction of Thomas Hardy, whose repeated readings of Milton contributed to both establishing his poetic vocabulary, and prompting a career-long engagement with Miltonic ideas. The thesis refocuses attention on peripheral elements of the work of these writers and artists to re-articulate Milton's importance for the Victorians, whilst bringing together models of influence which show the Victorian Milton to be at once liminal and galvanising.
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Sprague, Abbie Noel. "The craftsman painters of the arts and crafts movement." Thesis, University of Cambridge, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609045.
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Hoene, Katherine Anne. "Tracing the Romantic impulse in 19th-century landscape painting in the United States, Australia, and Canada." Thesis, The University of Arizona, 2000. http://hdl.handle.net/10150/278748.
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The purpose of this thesis is to identify essential characteristics of the first generation of Romantic landscape painters and painting movements in a given English-speaking country which followed the generation of Turner, Constable and Martin in England, and then trace how the second generation of Romantic-realist painters represents a different paradigm. For a paradigmatic construct of the first generation, the focus is on the lives and major works of the American arch-Romantic landscape painter Thomas Cole (1801--1848) and the Australian Romantic landscape painter Conrad Martens (1801--1878). The second generation model features the American Frederic Edwin Church (1826--1900), the Australian William Charles Piguenit (1836--1914), and the British Canadian Lucius Richard O'Brien (1832--1899). Cole and Martens, closer to their predecessors in England, created dynamic paradigm shifts in their new countries. Following them, the second generation of Romantic-realists produced a synthesis of romanticism, scientific naturalism, and nationalistic symbolism.
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Dudley, Ian A. "Edward Goodall's 'Sketches in British Guiana' : art, anthropography and colonialism in 19th century Amazonia." Thesis, University of Essex, 2017. http://repository.essex.ac.uk/20121/.
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This thesis examines sketched portraits of Amerindian peoples created by the English artist Edward Goodall during the 1841-1844 Boundary Survey of British Guiana, now Guyana, which was carried out by the German scientific explorer, Robert Schomburgk. The portraits formed part of a larger body of over 250 drawn and watercolour works labelled as Sketches in British Guiana, and carried out by Goodall in his role as official expedition illustrator. These sketches captured a wide range of geographical subjects, from botany, topography and zoology, to hydrography, geology and historical scenes of the expedition itself, in addition to the ethnographic representations upon which this thesis focuses, and which dominate the body in terms of their numbers and interest. The sketches were carried out in relation to the cartographic and geographical mapping and documenting of the Guayana territory and its peoples by Schomburgk as he moved across the disputed border regions between British Guiana and its neighbouring colonial states, Brazil, Venezuela and Surinam. Focusing on the works as a manifestation of the different subjective forces and ideologies at play within this colonial enterprise, I argue the portraits and Sketches more generally, exemplify art’s cooption as a tool of colonial reconnaissance, expansion and domination during the mid-nineteenth century, playing a key role in visualising the geographical colonization that Schomburgk’s Boundary Survey represented, capturing disputed inhabitants and their locales as they were inscribed onto British colonial maps, and substantiating British imperial claims over them. In essence, through Goodall’s work, Schomburgk sought to cultivate and performatively demonstrate knowledge of and control over Amerindians through their representation, which paralleled the way the Guayana landscape was brought into British guardianship, all under the aegis of Christian humanitarianism, scientific advance and national-imperial prestige.
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Biginagwa, Thomas John. "Historical archaeology of the 19th century caravan trade in north-eastern Tanzania : a zooarchaeological perspective." Thesis, University of York, 2012. http://etheses.whiterose.ac.uk/2326/.
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This zooarchaeological study examined animal economies practiced by local communities against the context of the expansion of the caravan trade in eastern Africa during the nineteenth century. Specific objectives were to establish whether: a) animal economies in areas crossed by caravan trade routes were transformed as a result of expanding trade and the demand for supplies; b) new herd management strategies were adopted by local communities to ensure production of surpluses for exchange; and c) the expansion of this trade caused subsistence stress for local communities. The study area is the Lower Pangani River Basin, north-eastern Tanzania. The three studied riparian island settlements of Ngombezi, Old Korogwe and Kwa Sigi are mentioned in the nineteenth-century European accounts as caravan halts in the Lower Pangani. These were identified through archaeological survey and oral interviews - using the nineteenth-century accounts as a guide to their likely locations. Excavation exposed evidence for human settlements dating to the late seventeenth or early eighteenth centuries AD, and materials recovered include over 30,000 pieces of animal bone, 39,000 potsherds, 4,020 local and imported beads, metal objects, worked bones, remains of flintlock muskets and coins. The analysis of the faunal remains indicates that domestic livestock, a wide range of wild animals, and locally caught fish, were all being consumed at these settlements. The proportion of wild fauna in the assemblage suggests their significant contribution to the diet. At Ngombezi where the longest dated sequence was revealed, such a consumption pattern of mixing domestic and wild resources is not significantly different from that of the pre-nineteenth-century levels, suggesting that the integration of these settlements into the caravan trade network had limited effects on food procurement strategies and consumption patterns. There is a general lack of evidence that young animals were slaughtered, which would be indicative of consumption pressure on domestic stock, as the majority of domestic stock was slaughtered after reaching maturity age - over 3 years for cattle and over 2 years for sheep and goat. These major findings contradict arguments made by historians that the caravan trade had a transformative effect on communities lying along the main trade routes in the region, though additional research at other sites is needed to strengthen this argument.
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Kelly, Rita Olivia. "Constructed meanings and contesting voices : the Opium War in archival, historical and fictional Anglophone narratives." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2014. http://hdl.handle.net/10722/206694.
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This thesis explores the ways in which the Opium War has been represented in both non-fictional and fictional Anglophone narratives. It looks at the construction of various 19th century discourses surrounding this historical event and the different meanings it has been endowed with through such discourses. It then examines the ways in which some of those meanings have been challenged in more recent accounts. The purpose of this thesis is to show how and why certain ideas are constructed and propagated, and how these in turn can be questioned, challenged and reinterpreted, giving us a wider perspective, and thus better understanding, of the said event.
The study is divided into two parts: non-fiction and fiction. The non-fiction section includes two chapters on the discourses of the Opium War, one on translation and one on historical texts while the second section focuses on two contemporary fictional narratives of the Opium War. Chapters one and two are based on a selection of 19th century archival documents and constitute a discussion of the discourses that have been formed around the Opium War in five specific fields: political, economic, religious, medical and legal. An analysis of these discourses will show them to be part of a larger sinophobic discourse that constructed China as Britain’s cultural inferior around the time of the conflict.
To view the Opium War in terms of cultural encounter requires a discussion of translation. Chapter three investigates the role and importance of translation and translators in creating and/ or sustaining the meanings created by these various discourses. Chapter four is an analysis of two more recent historical narratives: one a history of opium, the other a history of the Opium War. These texts contribute to an expanded understanding of the 19th century conflict as they offer different and more contemporary meanings with regard to the war that partly challenge earlier ones. Because of that, they also mark a transition towards my discussion of fictional narratives where the focus is on introducing new speaking positions that contest those ideas, images and ‘truths’ propagated by narratives such as those that are part of the Opium War discourses.
Chapter five investigates how Timothy Mo’s An Insular Possession goes against an important aspect of such discourses, that of hierarchy, by emphasizing cultural incommensurability and cross-cultural miscommunication between the British and the Chinese while refusing to stratify the two into cultural and civilizational hierarchies. Chapter six examines the ways in which Amitav Ghosh invents a new narrative of the Opium War in the first two parts of an intended trilogy: Sea of Poppies and River of Smoke. This last chapter looks at how, by focusing on the silenced Indian aspect of the Opium War and the unexplored Sino-Indian side of the conflict, Ghosh transforms the war from an exclusively Sino-British to a more global event.<br>published_or_final_version<br>English<br>Doctoral<br>Doctor of Philosophy
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Anesti, Maria. "'La femme modèle' from the first communicant to the affectionate mother : a dialogue between painting and moral discourse under the early Third Republic (1870-1900)." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7574.
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This PhD dissertation seeks to define the configuration and evolution of French women’s moral identity and social status, through works of art created during the first thirty years of the Third Republic (1870-1900). More specifically, my thesis investigates the artistic perception and visual recording of “traditional” female roles and analyses the socio-historical factors which contributed to the construction of the ideal woman. I focus on the representation of young girls’ education and First Communion and study the portrayal of maternity which was perceived both as a personal role and a republican ideal. Furthermore, I consider the institutions of marriage and family through portraits and scenes of everyday life. The woman’s relations to the Catholic Church within a secular state, as well as the notions of chastity and patriotism, are thoroughly explored. In my dissertation I prioritised nineteenth century texts, where French doctors, demographers and statesmen from different ideological backgrounds give moral guidelines concerning hygiene, breastfeeding and childcare, or analyse phenomena such as the birth rate decline. The writings of these authors who communicated major social anxieties served as an evaluative platform; more specifically, I ventured to see how French painters and illustrators participated to the most important debates of their time. Therefore, the criterion for the choice of images was not artistic excellence, but their engagement with the moral and social issues I decided to consider. Since in my thesis pictures are treated within a socio-historical context, I was challenged to achieve a balance between the visual and theoretical material, making them inter-relate effectively. Finally, my time-frame covers the three first decades of the French Third Republic and observes the succession of different governments. I investigate to what extent certain social attitudes which were developed during this period of thirty years shifted, and try to find out whether these alterations are conveyed in painting.
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Altonen, Brian Lee. "Asiatic cholera and dysentery on the Oregon Trail : a historical medical geography study." PDXScholar, 2000. https://pdxscholar.library.pdx.edu/open_access_etds/4305.
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Two disease regions existed on the Oregon Trail. Asiatic cholera impacted the Platte River flood plain from 1849 to 1852. Dysentery developed two endemic foci due to the decay of buffalo carcasses in eastern and middle Nebraska between 1844 and 1848, but later developed a much larger endemic region west of this Great Plains due to the infection of livestock carcasses by opportunistic bacteria.
This study demonstrates that whereas Asiatic cholera diffusion along the Trail was defined primarily by human population features, topography, and regional climate along the Platte River flood plain, the distribution of opportunistic dysentery along the Trail was defined primarily by human and animal fitness in relation to local topography features. By utilizing a geographic interpretation of disease spread, the Asiatic cholera epidemic caused by Vibrio cholerae could be distinguished from the dysentery epidemic caused by one or more species of Salmonella or Campylobacter. In addition, this study also clarifies an important discrepancy popular to the Oregon Trail history literature. "Mountain fever," a disease typically associated with Rocky Mountain Spotted Fever, was demonstrated to be cases of fever induced by the same bacteria responsible for opportunistic dysentery.
In addition, several important geographic methods of disease interpretations were used for this study. By relating the epidemiological transition model of disease patterns to the early twentieth century sequent occupance models described in numerous geography journals, a spatially- and temporally-oriented disease model was produced applicable to reviews of disease history, a method of analysis which has important applications to current studies of disease patterns in rapidly changing rural and urban population settings.
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Vermeer, Andrea Christine. "Making the West: Approaches to the Archaeology of Prostitution on the 19th-Century Mining Frontier." Diss., The University of Arizona, 2006. http://hdl.handle.net/10150/195053.
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Prostitution has recently received increased attention in historical archaeology, but studies pertaining to this topic have been driven by artifacts instead of theory and therefore have been unable to address broader social and economic issues, as is the goal of the field. The approach developed here moves significantly toward this goal in the study of prostitution in the 19th-century mining West.World-systems theory is established as an organizing framework for the study of prostitution in the mining West, a vital internal periphery of the United States and a site of sudden, intense cultural collision due to the expansion of the capitalist world-economy. Prostitution is situated within the context of women's informal labor in peripheries to demonstrate how prostitutes supported formal labor in the mining West and therefore contributed to the maintenance and reproduction of capitalism.The archaeological approach attends to the cultural collision by recognizing gender, ethnicity, and class as active, interacting, and shifting constructions emphasized to assign oneself or others as appropriate to spaces, activities, or interactions and seeking to identify processes of identity formation through manipulated behaviors and symbols. It additionally calls for archaeologists to look at how each construction organized society through the other two.The approach concludes with the development of relevant research questions under the headings of negotiating with and navigating around Victorianism. The former attempt to understand the range of experiences of prostitutes in a way that listens to the "voices" of both prostitutes and Victorians, i.e., through a negotiation, to better realize the personal agency of prostitutes. The latter relate to the labor and economic contributions of prostitutes to the capitalist world-economy, to better recognize and understand their historical agency.Implementation of the approach occurs through its application to recently excavated data from a red-light district in late 19th-century Prescott, Arizona. The results demonstrate that the historical-archaeological study of mining-West prostitution, with the benefit of organizing theory, has excellent potential for providing information on economic processes surrounding an important form of women's labor in a periphery and on social processes that characterized an intercultural-frontier periphery associated with a hegemonic Victorian core.
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scharffenberg, melissa. "The Lacy Hotel Site: Gender Ideologies and Domestic Activities in a 19th Century Boardinghouse Context." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/anthro_theses/53.
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The Lacy Hotel was a part of the "Great Locomotive Chase", a significant historical event in Kennesaw, Georgia during the Civil War (AD 1861-1864), yet little is known of this site. The Lacy Hotel was a boardinghouse that operated for roughly six years until General William Tecumseh Sherman burned it in 1864. This research utilizes historical records along with archaeological fieldwork in order to provide a more detailed analysis of daily life within the Lacy household. Dominant ideologies influence the roles of women concerning their activities and choices of consumption within the household. Although the results show that the boardinghouse is not a typical household, the social dynamics and consumption are still constrained by the culture and ideology of the time period. In conclusion, this research offers a case study about the role of women on the eve of turmoil and contends that the boardinghouse is emblematic of broader changes within the rural South during the 19th century.
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Walker, Stanwood Sterling. "The classical-historical novel in nineteenth-century Britain." Access restricted to users with UT Austin EID, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3036607.
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Elsken, Jennifer L. "The Historical Ceramics of Camp Floyd." BYU ScholarsArchive, 2002. https://scholarsarchive.byu.edu/etd/4665.
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This thesis is an historical archaeological project involving the classification and analysis of the ceramics found at Camp Floyd, a 19th century military site 40 miles southwest of Salt Lake City, Utah. United States military troops were dispatched to the Utah Territory to establish a Pony Express Station and an Overland Stage Trail, to assert federal authority in the Territories, and to end the ongoing conflict between the federal government and the Church of Jesus Christ of Latter Day Saints. The primary research question concerned the ceramic usage patterns at Camp Floyd as compared to other military sites and non-residential sites of the 19th century. The ceramic assemblage recovered from Camp Floyd was classified using Berge's classification system of historical ceramics. A sample from this collection was analyzed in order to assess social and economic differences between officers' and enlisted men.
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Pasco, Hélène. "When 19th century painters prepared organic-inorganic hybrid gels : physico-chemical study of « gumtions »." Electronic Thesis or Diss., Sorbonne université, 2019. https://accesdistant.sorbonne-universite.fr/login?url=https://theses-intra.sorbonne-universite.fr/2019SORUS296.pdf.
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Les médiums étaient utilisés par les peintres afin de modifier la texture et le séchage de leur peinture. Au 19ème siècle, des artistes britanniques ont développé un médium composé d’huile siccative, de résine mastic et d’acétate de plomb trihydraté : le « gumtion ». Ce matériau de type gel surpasse les additifs alors existants. Dans cette thèse, nous contribuons à la compréhension des processus chimiques impliqués dans la formation et le vieillissement des gumtions. Dans un premier temps, nous avons centré l’étude sur la résine mastic, car il s’agit d’un élément clé dans la préparation des gels. La fraction triterpénique de la résine a été identifiée et quantifiée par GC/MS. De plus, nous avons étudié par ellipsométrie les propriétés optiques de vernis sous forme de films minces, ainsi que leur comportement (gonflement) sous différentes atmosphères. Puis, en reproduisant des recettes historiques et afin d’approfondir la compréhension des interactions chimiques entre les composants du gel, nous avons développé des formulations simplifiées à base d’acide oléanolique (triterpène commercial) et d’un composé de plomb (acétate ou oxyde). L’utilisation de techniques d’analyses complémentaires aux échelles moléculaire (IR, MAS-RMN) et supramoléculaire (cryo-TEM, SAXS) indique dans un premier temps la formation d’un complexe de coordination entre le plomb et les fonctions acides des triterpénoïdes, qui s’arrangent en objets 2D expliquant le comportement viscoélastique du matériau. Après plusieurs mois de vieillissement, nous avons observé l’auto-organisation de nanoparticules cristallines en en lamelles, témoignant du caractère dynamique de ce matériau même avec gélification<br>Mediums were used by painters in order to modify the texture and drying properties of their paint. During the 19th century, British artists developed a particular medium made of siccative oil, mastic resin and lead acetate trihydrate. The so-called “gumtions” form gel-like materials in a relatively short time, outperforming the existing paint media. This thesis contributes unveiling the chemical processes involved in the formation and ageing of gumtions. As a first step, we focused on mastic resin since it is a key component for the preparation of gumtion. The triterpenic fraction of the resin was identified and quantified using GC and GC/MS. Moreover, we took advantage of Spectroscopic Ellipsometry so as to study the optical properties of varnish thin films as well as their behaviour (swelling) under various atmospheres. Then, we reproduced historical recipes that helped us afterwards to define simplified formulations to deepen the understanding of the chemical interactions between the gel components, made of oleanolic acid (commercial triterpenoid) and a lead compound (acetate or oxide). They were investigated at dierent scales by spectroscopic (FTIR, MASNMR) and supramolecular analyses (Cryo-TEM, SAXS). The use of these complementary techniques gives an overview of the gel’s structure and formation: rapidly, a coordination complex is formed between lead and the carboxylic acid moieties of the triterpenoids, that organizeinto2Dobjectsleadingtothesolid-likebehaviorofthematerial. After few months ageing, we observed the self-assembly of crystalline nanoparticles into lamellar structures, witnessing the dynamic occurring in the material even after gelation.bly of crystalline nanoparticles into lamellar structures, witnessing the dynamic occurring in the material even after gelation
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Filippa, Kenne. "The object biography of Breakfast-Piece by Nicolaes Gillis : The reception of Netherlandish art in Sweden during the 19th century." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-182722.
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Wilsey, Shannon K. "Interpretations of Medievalism in the 19th Century: Keats, Tennyson and the Pre-Raphaelites." Scholarship @ Claremont, 2010. http://scholarship.claremont.edu/cmc_theses/20.
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This thesis describes how different 19th century poets and artists depicted elements of the medieval in their artwork as a means to contradict the rapid progress and metropolitan build-up of the Industrial Revolution. The poets discussed are John Keats and Alfred, Lord Tennyson; the painters include William Holman Hunt and John William Waterhouse. Examples of the poems and corresponding Pre-Raphaelite depictions include The Eve of Saint Agnes, La Belle Dame Sans Merci and The Lady of Shalott.
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Gardos, Amy. "The historical archaeology of the Old Farm on Strawberry Hill : a rural estate 1827-1889, Albany, Western Australia." University of Western Australia. Archaeology Discipline Group, 2004. http://theses.library.uwa.edu.au/adt-WU2005.0032.
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This thesis presents the results of historical archaeological research at the Old Farm on Strawberry Hill in Albany, Western Australia. The site is an important colonial farm in Western Australia’s history; the location for the first farm in Western Australia (1827) and linked to many important individuals in the state’s colonial past. The site is owned and managed by the National Trust of Australia (W.A.) and is registered on both the West Australian, Heritage Council Register of Historical Places and the Australian Heritage Commission’s National Estate. Past historical and cultural biases had created an incomplete interpretation of this site that did not represent all social groups, including indentured servants, convict and Aboriginal labourers and women. The research has provided a holistic site interpretation that identified all social groups living and working on this site in the 1800s by analysing historical documents and archaeological excavated materials. The historical documentary record included both personal and official correspondence, diaries and drawings, as well as two valuable farm log books that documented the day to day events on the farm in the early to mid 1800s. The archaeological excavation was restricted to small area excavations in habitation areas still present on the site or in areas identified from 19th century surveyor maps. Both of these data sources were analysed to identify social and economic relationships, such as gender, status, class and ethnicity so that a comparison could be made between historical and archaeological data and a complementary interpretation created. The research was divided into three main periods of site occupation, firstly by convict gardeners during the government farm period from 1827 to 1832. The Spencer family period from 1833 to 1889, which is further defined by two phases, the six years from their arrival until Richard Spencer’s death in 1839 and the dispersal of the family and the property decline until it was sold in 1889. The third period of occupation by the Bird family was not discussed due to the discontinuation of a farming subsistence that distinguished it from a rural rather than an urban property. This study provides the current heritage managers with an updated interpretation of the site’s past and changing social and economic relationships on site and with the early town of Albany. It is hoped that this interpretation will be used to improve the site’s current representation and becomes the basis for a heritage conservation plan which not only recognises the importance of existing site structures, but also sub surface remains. This thesis also identifies a number of avenues for future research that will further enhance the site’s interpretation.
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Kwok, Yin-ning, and 郭燕寧. "Concepts of realism and the reception of John Constable's landscape paintings." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B39707301.
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Akard, Carrie Meitzner. "Southern Genre Painting and Illustration from 1830 to 1890." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc277611/.
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The purpose of this thesis is to give a concise view of stylistic, iconographical, and iconological trends in Southern genre paintings and illustrations between 1830 and 1890 by native Southern artists and artists who lived at least ten years in the South. Exploration of artworks was accomplished by compiling as many artworks as possible per decade, separating each decade by dominant trends in subject matter, and researching to determine political and/or social implications associated with and affecting each image. Historical documents and the findings of other scholars revealed that many artworks carried political overtones reflecting the dominant thought of the white ruling class during the period while the significance and interpretation of other artworks was achieved by studying dominant personal beliefs and social practices.
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Maraveas, Chrysanthos. "Fire resistance of metal framed historical structures." Thesis, University of Manchester, 2015. https://www.research.manchester.ac.uk/portal/en/theses/fire-resistance-of-metal-framed-historical-structures(390efc49-7228-4ad1-a164-356213df96fb).html.
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This thesis focuses on fire resistance of 19th century cast iron framed structures. Based on material property data obtained from a comprehensive literature review, upper and lower bound relationships of the thermal and mechanical properties of 19th century fireproof floor construction materials have been derived. Because these materials have large variability, a sensitivity analysis has been undertaken to investigate the most effective ways of representing such variability. The sensitivity analysis has indicated that the elevated mechanical properties of cast iron should be reliably quantified. The thermal expansion of cast iron can be taken as equal to that of steel as in EN1993-1-2. Variabilities in other material properties have modest effects on fire resistance of cast iron structures and can be safely modeled according the Eurocode material models for similar modern materials (using thermal properties of modern steel for cast iron, using thermal properties of modern concrete for the insulation materials of cast iron structures). In order to resolve some of the uncertainties in mechanical properties of cast iron at elevated temperatures, a total of 135 elevated temperature tests have been performed, including tension and compression tests, transient state and steady state tests, tests after cooling down and thermal expansion tests. These test results have been used to establish the elevated temperature stress-strain-temperature relationships in tension and compression. Afterwards, calculation methods are developed to calculate the bending resistance of cast iron beams and compression resistance of cast iron columns at elevated temperatures. For cast iron beams, a fibre model has been developed to calculate elevated temperature moment capacity of cast iron beams in jack arch construction, taking into consideration non-uniform temperature distributions in the cross-section. The fibre model divides the cross section into a large number of fine layers and for a given curvature and neutral axis position calculates the strain, the temperature, the stress and the force of each layer. It has been found that under historically applied load, the fire resistance of such beams can be 60 minutes or higher. The Monte Carlo simulation method has been used to take into account the variabilities of important mechanical properties of cast iron at elevated temperatures; Young’s modulus, 0.2% proof stress, ultimate strength, corresponding strain at ultimate strength and failure strain in tension and Young’s modulus, proportional limit and 0.2% proof stress in compression. This has enabled material safety factors of 1.50, 2.50, 4.50 and 5.50 to be proposed for target failure probabilities of 10-1, 10-2, 10-3 and 10-4 respectively. For cast iron columns, a finite element model, built using the commercial software ABAQUS, has been used to examine the effects of changing different design parameters (column slenderness, member imperfection, cross section imperfection, degree of axial restraint, load factor and load eccentricity) on fire resistance of cast iron columns. Validation of the finite element model was by comparison of the simulation results against six fire resistance tests, three on unprotected and three on protected cast iron columns. The results of this numerical parametric study indicate that the fire resistance of cast iron columns is generally higher than that of modern steel columns because the applied loads on cast iron columns are lower and cast iron columns have thicker sections than modern steel columns. Comparison of the numerical parametric study results with the calculation results using the steel column design method in EN1993-1-2 has found that the EN 1993-1-2 calculation results are generally on the safe side.
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Boston, Ceridwen Victoria. "The value of osteology in an historical context : a comparison of osteological and historical evidence for trauma in the late 18th- to early 19th century British Royal Navy." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:54f7de43-0363-48c0-a6b1-789ce637cc78.
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Trauma is arguably the most comparative and least ambiguous of palaeopathological lesions. As such, it is an ideal vehicle for exploring the respective contributions and differences between historical and osteological approaches to health in the past. A direct comparison between historical and osteological assemblages is often impossible due to the lack of comparable data, or complicated by the very different perceptions, motivations and pre-occupations of past writers and present researchers. Nevertheless, where genuine opportunities exist to compare and contrast the alternative strands of evidence, it may lead to a much richer and more nuanced understanding of the past. This study uses trauma in the late 18<sup>th</sup>- to early 19<sup>th</sup> century British Royal Navy (R.N.) to explore the differences between the two disciplines, and through this process to come to a deeper understanding of the physical effects of a maritime lifestyle on the health of late 18th- to early 19th century R.N. seamen and marines. The 18<sup>th</sup>- and early 19<sup>th</sup> century R.N. is one of the best documented institutions of its day, with a large corpus of records accessible in the National Archives in Kew. Recent archaeological excavations in the burial grounds of the three R.N. hospitals of the 18<sup>th</sup> century in Britain- the Royal Hospitals Haslar in Gosport, Stonehouse in Plymouth and Greenwich Hospital in South-East London- have made available over 300 skeletons of seamen and marines, who were treated but died in these institutions. This study explores the osteological evidence for fractures and joint trauma patterning in 300 of these skeletons. Eighteenth century accounts of the privations and dangers of sailing a fighting ship are well supported osteologically by the presence of 926 fractures and 14 joint dislocations. Osteological trauma patterning was compared with historical data collated from the Haslar and Plymouth Hospital musters (1792-1824) and Entry Books of Greenwich Hospital (1749-1765). The most probable aetiology of injuries was explored using insights from modern medical and forensic research, and 18<sup>th</sup> century sea surgeons' journals. Falls accounted for a very high proportion of injuries in both datasets, as did crush injuries, and to a much lesser extent, battle trauma. Extremely high rates of nasal fractures, Bennett's fractures of the first metacarpal, and anterior rib fractures in the skeletal assemblages strongly suggest very high rates of casual interpersonal violence. Interestingly, these injuries were very seldom recorded in either sea surgeon or hospital records, possibly due to seamen's fear of punishment for transgressing official naval regulations against fighting. Several unusual fractures (such as Shepherd's fractures of the talus, and third metacarpal avulsion fractures) and bony modifications (such as shallow and unstable hip and shoulder joints, os acromiale and Eagle's syndrome) appear to be the consequences of engaging in a maritime lifestyle, often beginning in childhood or adolescence. Trauma is arguably the most comparative and least ambiguous of palaeopathological lesions. As such, it is an ideal vehicle for exploring the respective contributions and differences between historical and osteological approaches to health in the past. A direct comparison between historical and osteological assemblages is often impossible due to the lack of comparable data, or complicated by the very different perceptions, motivations and pre-occupations of past writers and present researchers. Nevertheless, where genuine opportunities exist to compare and contrast the alternative strands of evidence, it may lead to a much richer and more nuanced understanding of the past. This study uses trauma in the late 18th- to early 19th century British Royal Navy (R.N.) to explore the differences between the two disciplines, and through this process to come to a deeper understanding of the physical effects of a maritime lifestyle on the health of late 18th- to early 19th century R.N. seamen and marines. The 18th- and early 19th century R.N. is one of the best documented institutions of its day, with a large corpus of records accessible in the National Archives in Kew. Recent archaeological excavations in the burial grounds of the three R.N. hospitals of the 18th century in Britain- the Royal Hospitals Haslar in Gosport, Stonehouse in Plymouth and Greenwich Hospital in South-East London- have made available over 300 skeletons of seamen and marines, who were treated but died in these institutions. This study explores the osteological evidence for fractures and joint trauma patterning in 300 of these skeletons. Eighteenth century accounts of the privations and dangers of sailing a fighting ship are well supported osteologically by the presence of 926 fractures and 14 joint dislocations. Osteological trauma patterning was compared with historical data collated from the Haslar and Plymouth Hospital musters (1792-1824) and Entry Books of Greenwich Hospital (1749-1765). The most probable aetiology of injuries was explored using insights from modern medical and forensic research, and 18th century sea surgeons’ journals. Falls accounted for a very high proportion of injuries in both datasets, as did crush injuries, and to a much lesser extent, battle trauma. Extremely high rates of nasal fractures, Bennett’s fractures of the first metacarpal, and anterior rib fractures in the skeletal assemblages strongly suggest very high rates of casual interpersonal violence. Interestingly, these injuries were very seldom recorded in either sea surgeon or hospital records, possibly due to seamen’s fear of punishment for transgressing official naval regulations against fighting. Several unusual fractures (such as Shepherd’s fractures of the talus, and third metacarpal avulsion fractures) and bony modifications (such as shallow and unstable hip and shoulder joints, os acromiale and Eagle’s syndrome) appear to be the consequences of engaging in a maritime lifestyle, often beginning in childhood or adolescence.
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Aranha, Roberta Heinemann de Souza. "Os arcanos maiores do Tarô e a pintura Simbolista do Séc. XIX = um visão interpretativa da correlação arquétipica." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284920.
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Orientador: Elisabeth Bauch Zimmermann<br>Dissertação (mestrado) - Universidade Estadual de Campionas, Instituto de Artes<br>Made available in DSpace on 2018-08-17T11:04:43Z (GMT). No. of bitstreams: 1
Aranha_RobertaHeinemanndeSouza_M.pdf: 6848970 bytes, checksum: 0e7cb8ad384b5c041add792031cf073b (MD5)
Previous issue date: 2010<br>Resumo: Este trabalho relaciona as imagens dos Arcanos Maiores do Tarô com o contexto imagético das Artes Visuais, em especial, evidencia a correlação entre a pintura da escola Simbolista e o Tarô. Também procura desvelar alguns aspectos arquetípicos encontrados através do diálogo simbólico entre essas duas manifestações criativas e artísticas, o que propicia um olhar subjetivo das transformações históricas do final do Século XIX<br>Abstract: This study relates the images of the Major Arcana of the Tarot imagery with the context of the Visual Arts, in particular, shows the correlation between the Symbolist school of painting and the Tarot. It also seeks to reveal some archetypal aspects found through symbolic dialogue between these two creative and artistic expressions, which provides a subjective look of the historic transformations of the late nineteenth century<br>Mestrado<br>Artes Visuais<br>Mestre em Artes
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Day, Marisa. "Conrad Wise Chapman and the Mexican Landscape." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/228.
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This thesis focuses on several paintings of the Mexican landscape produced by Conrad Wise Chapman (1842 – 1910) and held by the Valentine Richmond History Center in Richmond, Virginia. Chapman lived in Mexico from 1865 to 1867 and from 1883 to 1908 (with a few short absences), and during this period, produced a large number of landscapes, which are the subject of this thesis and will be considered as an amalgamation of both nineteenth-century Mexican landscape painting and traveler-art. It is the purpose of this study to demonstrate that Chapman’s artistic style embodies both classical components of landscape painting and characteristics commonly associated with traveler-art. This investigation of Chapman’s Mexican oeuvre provides significant insight into a period of the artist’s career that has long been neglected, and it examines several works of art not yet considered by scholars.
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Balic, Iva. "Always Painting the Future: Utopian Desire and the Women's Movement in Selected Works by United States Female Writers at the Turn of the Twentieth Century." Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc11060/.
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This study explores six utopias by female authors written at the turn of the twentieth century: Mary Bradley Lane's Mizora (1881), Alice Ilgenfritz Jones and Ella Merchant's Unveiling Parallel (1893), Eloise O. Richberg's Reinstern (1900), Lena J. Fry's Other Worlds (1905), Charlotte Perkins Gilman's Herland (1915), and Martha Bensley Bruère's Mildred Carver, USA (1919). While the right to vote had become the central, most important point of the movement, women were concerned with many other issues affecting their lives. Positioned within the context of the late nineteenth century women's rights movement, this study examines these "sideline" concerns of the movement such as home and gender-determined spheres, motherhood, work, marriage, independence, and self-sufficiency and relates them to the transforming character of female identity at the time. The study focuses primarily on analyzing the expression of female historical desire through utopian genre and on explicating the contradictory nature of utopian production.
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Abbott, Carol A. "A 21st Century Investigation of the Historical, Musical and Acoustical Contexts of a 19th Century Comic Opera, Schermania in America, Composed by Dr. Gabriel Miesse, Jr." Ohio University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1303937248.
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Methot, Pierre-Olivier. "Historical epistemology of the concept of virulence : molecular, ecological, and evolutionary perspectives on emerging infectious diseases in the 19th and 20th century." Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3494.
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This thesis focuses on the trajectory of the biomedical concept of virulence from 1880 until the present. Following the concept across disciplinary boundaries, from a longue durée history perspective, it explores how virulence was shaped through two distinct, although sometimes overlapping, “styles of reasoning”. Located at the intersection of several distinct research domains in biology and medicine, the concept of virulence provides, in addition, a window into the complex and changing relations between evolutionary biology and the health sciences (broadly construed) over the past two centuries. Moving back and forth between field experiments and the laboratory, this work examines, through the lens of historical epistemology, the emergence of what I call the molecular and the ecological styles, and their respective conceptual practices. It focuses on the ways in which these styles operationalize the distinction between virulent or avirulent organisms in sometimes opposite sense: Whereas in the molecular (or endogenous) style the expression of virulence is explained by properties of internal structures of the infectious agent (e.g. polysaccharide capsule, virulence gene, or pathogenicity island), the concept of virulence in the ecological (or exogenous) style reflects, in contrast, either a lack of adaptation between two species (avirulence hypothesis) or the existence of one or more ecological compromises between, say, the mode of transmission of a pathogen and its host’s recovery rate (trade-off model). Both styles can be said to originate in the medical bacteriology of the late-nineteenth century, but while the former grew mostly out of the work of Louis Pasteur and Robert Koch in Europe, the latter was primarily shaped by Theobald Smith in the United States. Nearly a century later, the introduction of the category of emerging infectious disease within public health discourses in the mid-1990s facilitated a rapprochement between the two styles that had, so far, remained apart. Employing the 1918–1919 influenza pandemic as an example in which to illustrate the trajectory of the molecular and the ecological approaches, the diversity of explanatory schemes developed to account for the pandemic’s exceptional virulence points toward an unresolved, and yet productive, epistemic tension between the two styles, on the one hand, and the intrinsic polarity of the concept of virulence itself, on the other.
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Mulley, Elizabeth. "Women and children in context : Laura Muntz and representation of maternity." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36781.
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This thesis is concerned with several aspects of the life and work of the Canadian painter Laura Muntz (1860--1930). It examines in particular Muntz's images of women and children both within the cultural themes and ideologies of the period and from the perspective of contemporary twentieth-century theories of gender. The introduction and literature review outline the broad issues surrounding the artist in her time and present a summary of her critical fortunes in Canadian art historical literature. Chapter one provides a discussion of Muntz's life and artistic production between 1860 and 1898, the year in which she returned to Toronto after a decade of study and work in Europe. The following two chapters are conceived as case studies of single paintings, observed in the context of various discourses that surround them. Chapter two analyses Muntz's Madonna and Child in terms of hereditarian theories, eugenics, maternal feminism and the Canadian social purity movement and considers the broader, psychological implications of gender, specifically in the fin-de-siecle associations of femininity and death. Chapter three examines the imagery in Muntz's Protection with reference to North American Symbolist painters and their relationship to the constructs of the feminine ideal. As a whole, the thesis elucidates the complex layers of meaning that Muntz's images of women and children contributed to the popular conceptions of femininity and motherhood current in her time.
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Peersen, Hild Breien. "Franz Berwald and his quartet for piano and winds: its historical, stylistic, and social context." The Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=osu1104257313.
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Ruiz, Christopher L. 1974. "The Archaeology of a 19th Century Post-Treaty Homestead on the Former Klamath Indian Reservation, Oregon." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/11079.
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xvi, 148 p. : ill. (some col.) A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.<br>The preservation of architecture associated with underrepresented communities has been hindered by traditional biases in preservation. The post-contact history of Native Americans of the Klamath Basin has not been exempt from this trend. Archaeologists have begun to uncover evidence of post-contact lifeways of Native Americans on the former Klamath Indian Reservation in southern Oregon. This thesis examines the influence of 19th and 20th century federal policies on reservation households, using data from archaeological investigations at a 19th century Native American homestead (the Beatty Curve Site, 35KL95). This information, coupled with historical research, is used to reconstruct the homestead and cultural setting on paper and will be useful in identifying similar properties. More importantly, this thesis adds to a regional and national narrative on Native survival, adaptation, and cultural persistence in the face of new social realities in the post-contact period. This thesis includes previously published and unpublished co-authored material.<br>Committee in charge: Dr. Kingston Wm. Heath, Chairperson; Dr. Rick Minor, Member
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Wertz, Julie Hodges. "Turkey red dyeing in late-19th century Glasgow : interpreting the historical process through re-creation and chemical analysis for heritage research and conservation." Thesis, University of Glasgow, 2017. http://theses.gla.ac.uk/8183/.
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The dyed cotton textiles called Turkey red are a significant part of Scotland’s cultural heritage and the legacy of its textile manufacturing industry, and were known for their exceptional colour and fastness to light and wash fading. This thesis is a multi-disciplinary investigation of the chemistry of these unique textiles in the context of 19th c. Scotland using historical material re-creations and modern analytical chemistry, situating the dyeing process in a historical context. This research is a significant contribution toward the continued preservation of historical Turkey red textiles. Through a detailed, chemistry-focused examination of Turkey red methods published in English and French between 1785-1911, the key ingredients and steps for the process from a chemical perspective are identified (Chapter 1). The significance, chemistry, and previous research on the role of the oil (Chapter 2) and dye sources used (Chapter 3) are discussed to form the basis of the material re-creations and analysis. The oil is fundamental to and characteristic of the process, which is also noteworthy for being the first to replace a natural dye source (madder or garancine) with a coal-tar derived analogue (synthetic alizarin). Re-creations of dyed Turkey red, Turkey red oil, oiled calico, and synthetic alizarin provide experiential data and reference materials to test analyses prior to application on historical objects (Chapter 4). The analysis of Turkey red oils by nuclear magnetic resonance (NMR) spectroscopy and high-performance liquid chromatography with mass spectrometry (HPLC-MS) (Chapter 5) provides information used to characterise, for the first time, how the oil and cotton fibres bond to form the basis of the Turkey red complex. This is studied using conservation-based diffuse reflectance infrared Fourier transform spectroscopy (DRIFTS) and attenuated total reflectance Fourier transform infrared spectroscopy (ATR-FTIR) and solid-state NMR (ssNMR) on replica and 19th c. pieces of Turkey red (Chapter 6). Dyes analysis of these samples by ultra high performance liquid chromatography with photodiode array (UHPLC-PDA) identifies chromatographic profiles of textiles dyed with natural or synthetic dye based on synthetic chemical markers. The presence of pigments on printed Turkey red is confirmed by infrared spectroscopy and scanning electron microscope with energy-dispersive X-ray (SEM-EDX) (Chapter 7).
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Grimmer-Solem, Erik. "The science of progress : the rise of historical economics and social reform in Germany, 1864-1894." Thesis, University of Oxford, 1998. http://ora.ox.ac.uk/objects/uuid:cff7d27b-b020-46d4-b2e0-b98d686c1f3b.
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This thesis reassess the so-called 'Historical School of Economics' of Gustav Schmoller and his colleagues Lujo Brentano, Adolf Held and Georg Friedrich Knapp, analysing the close relationship between the development of historical economics and the rise of social reform in Germany. It reveals that there is little evidence for a cohesive 'Historical School' and suggests that it was not primarily an outgrowth of romantic and historicist currents of thought as is commonly believed. Schmoller and his colleagues were a pragmatic, empirically-inclined group of statistically-trained economists who drew inspiration from the advances made in the natural sciences. Having directly observed the effects of rapid urbanisation, industrialisation, and the rise of labour movements and socialism in Prussia and abroad, they became dissatisfied with classical economic doctrines and laissez-faire, subjecting these to empirical tests and criticism. Drawing inspiration from British reforms and developments throughout Europe, they devised alternative hypotheses and made innovative policy recommendations. They were also important professionalisers of economics, modifying the curriculum, organising professional bodies, and creating new monographs and journals, the latter substantially aided by the interest and generosity of a leading publisher. Using empirical studies, statistics and history as analytical and critical tools, they sought practical solutions to economic and social problems by disseminating information to both the public and government officials through publications, conferences and petitions. They became leading advocates of trade union rights, factory inspection, worker protection laws, education reforms, worker insurance, agricultural reforms, and the democratisation of industrial relations. Their influence on economic and social policy, while indirect, was considerable, especially through government officials. However, the close association of historical economics with reform and social policy also made them a conspicuous target of criticism within academia and politics. Despite this, by the early 1890s the research methods and social legislation they propounded were gaining wider currency not only in Germany but also in Austria.
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Hoffman-Stonebraker, Jennifer C. "The history and use of stained glass windows in ecclesiastical buildings in Indianapolis, Indiana, 1865-1915." Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1214382.
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This thesis examines stained glass windows in Indianapolis churches built between 1865 and 1915. It studies the trends in Indianapolis stained glass windows and compares them with the national trends in stained glass design. The evidence contained within this thesis indicates that a wide variety of styles popular at the time are represented in Indianapolis churches. The evidence also suggests that some national trends in stained glass did influence the design of the windows in Indianapolis. However, most of the windows in the surviving Indianapolis churches from the period are not typical of the high style trends in church stained glass found elsewhere in the United States.<br>Department of Architecture
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Sharif, Hana. "Chekov, Ibsen and Flaubert’s doctors : An ideo-historical literature essay on how the medical revolution of the 19th century changed the role of doctors." Thesis, Örebro universitet, Institutionen för medicinska vetenskaper, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-73521.
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Background: Today we are very likely to encounter exceedingly competent, courageous, charismatic and often times good-looking doctors as TV-show protagonists whilst flipping through the television channels. Just over a hundred years ago it would have been unimaginable for a doctor to lead a storyline, to be a well-liked hero, to even be described as competent. Aim: The purpose of this paper is to study how the medical revolution of the 19th century changed the role of doctors in society and consequently the portrayal of them in literary works and theatrical performances throughout time. Method: This essay is an ideo-historical literary analysis, with a hermeneutic approach of interpretation. The selection of landmark literary work and theatrical plays range from mid-17th century to contemporary times and are chosen on the basis of their popularity and influence. Results: The portrayal of doctors transforms from being figures used as laughingstocks, painted with colors of incompetence and deceptiveness to become highly respectable heroes of society whose steps should be followed and words should be listened to. Conclusion: An increased awareness of the different positions of doctors in society may bring the clinicians of today a better understanding about the conditions of their status. This insight might make it easier for them to navigating in a professional life with the new and ever-challenging well-read patient of today.
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Cressey, Michael. "The identification of early lead mining : environmental, archaeological and historical perspectives from Islay, Inner Hebrides, Scotland." Thesis, University of Edinburgh, 1996. http://hdl.handle.net/1842/33319.
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This thesis investigates whether lead mining can be detected using palaeoenvironmental data recovered from freshwater loch and marsh sediment. Using radiometric time-frames and geochernical analyses the environmental impact of 18th and 19th century mining on Islay, Inner Hebrides, Scotland, has been investigated. The model of known mining events thus produced has been used to assess previously unrecorded (early) lead mining activity. Previous mining in the area is suggested by 18th century accounts that record the presence of 1,000 "early" workings scattered over the north-east limestone region. While there is little to support the often repeated assertion that lead mining dates back to the Norse Period (circa lOll th centuries) it is clear that it may well have been an established industry prior to the time of the first historical records in the 16th century. In order to use a palaeoenvironmental approach to the question of mining history and its impact, the strategy has been to use integrated loch and catclunent units of study. The areas considered are; Loch Finlaggan, Loch Lossit, Loch Bharradail and a control site at Loch Leathann. Soil and sediment geochemical mapping has been used to assess the distribution of lead, zinc and copper within the catchments. Environmental pathways have been identified and influx of lead, zinc and copper to the loch sediment has been detennined through the analyses of cores from each loch basin. Archaeological fieldsurvey and the re-examination of the results from mineral prospecting data across the study region provides new evidence on the geographical extent and contaminatory effects of leadmining in this area. This study shows how the effect of lead mining can be identified in the palaeoenvironrnental record from circa 1367 AD onwards, so mining in Islay does indeed predate the earliest known archaeological and historical records.
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Oliveira, Helder Manuel da Silva de. "Olhar o mar : um estudo sobre as obras 'Marinha com Barco' (1895) e Paisagem com Rio e Barco ao Seco em São Paulo "Ponte Grande" (1895) de Giovanni Castagneto." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281530.
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Orientador: Luciano Migliaccio<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas<br>Made available in DSpace on 2018-08-08T08:25:10Z (GMT). No. of bitstreams: 1
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Previous issue date: 2007<br>Resumo: A origem deste estudo são as obras Marinha com barco (1895) e Paisagem com rio e barco ao seco em São Paulo 'Ponte Grande¿ (1895) de autoria de Giovanni Castagneto. Este se inicia com um breve histórico da pintura de marinha correlacionando a produção européia e brasileira. Em seguida, analisamos a produção do artista sob a prática da pintura de série, pois é possível identificar nas obras do pintor uma freqüente repetição de motivos. A partir disto avaliamos a série 'barcos ao seco¿ realizada pelo pintor ao longo de sua carreira e na qual incluímos as obras acima. Por fim, tratamos do período em que o artista expôs em São Paulo e as relações estabelecidas no ambiente cultural paulista. O trajeto foi necessário tanto para uma compreensão da produção paulista e de sua importância no meio artístico da cidade de São Paulo, bem como perceber o lócus do pintor no panorama da pintura de paisagem marinha e no meio artístico brasileiro do século XIX<br>Abstract: Giovanni Castagneto's Marinha com barco (1895) and Paisagem com rio e barco ao seco em São Paulo 'Ponte Grande' (1895) are the origin of this present study which begins with a brief story of seascape co-relating both the European and Brazilian productions. The following step consists on the analysis of the artist's production under the practice of his serial paintings due to the possibility of identification of a frequent repetition of motives in the painter's works. From this point, we evaluate the series 'barcos ao seco' released by the painter throughout his career and which includes the paintings mentioned previously. Finally, we focus on the period in which the artist exhibited in São Paulo and the relationship established in the cultural environment of the city. This course was necessary for a deeper comprehension of the painter's production in São Paulo as well as his importance in the forming cultural class. Therefore we intend, throughout the chosen paintings, to notice the importance of Castagneto in the both sea and landscape production context and in the Brazilian artistic class<br>Mestrado<br>Historia da Arte<br>Mestre em História da Arte
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Payne, Melissa. "Paintings as Information: The Anthropology of Images: A Consideration of Late Sixteenth and Seventeenth Century Netherlandish Painting in Relation to Foodways and Historical Archeology." W&M ScholarWorks, 1985. https://scholarworks.wm.edu/etd/1539625293.
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Banks, Bryan John. "The metamorphosis of painting : an examination of the changes in the use of oil paint in the 19th century and its replacement in the 20th century by non-art materials and three-dimensional objects." Thesis, University of Liverpool, 2006. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.433773.
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Dorset, Elaine C. "A Historical and Archaeological Study of the Nineteenth Century Hudson's Bay Company Garden at Fort Vancouver: Focusing on Archaeological Field Methods and Microbotanical Analysis." PDXScholar, 2012. https://pdxscholar.library.pdx.edu/open_access_etds/869.
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The Hudson's Bay Company (HBC), a British fur-trading enterprise, created a large garden at Fort Vancouver, now in southwest Washington, in the early- to mid-19th century. This fort was the administrative headquarters for the HBC's activities in western North America. Archaeological investigations were conducted at this site in 2005 and 2006 in order to better understand the role of this large space, which seems incongruous in terms of resources required, to the profit motive of the HBC. Questions about the landscape characteristics, and comments by 19th century visitors to the site provided the impetus for theoretical research of gardens as representations of societal power, and, on a mid-range level, the efficacy of certain archaeological methods in researching this type of space. Documentary research related to the history of the HBC Garden was also conducted, including previous archaeology completed at the site. The results of these lines of inquiry are presented, providing insight as to the diverse roles this Garden fulfilled in the survival of the HBC in the region - as a commercial enterprise, as a microcosm of western societal practice, and in the health of its employees.
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Garboggini, Flavia de Almeida Fabio. "Um album imaginario = Insley Pacheco." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/283992.
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Orientador: Iara Lis Franco Schiavinatto<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-15T15:11:50Z (GMT). No. of bitstreams: 1
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Previous issue date: 2005<br>Resumo: Este trabalho apresenta um levantamento da produção do fotógrafo e pintor, Joaquim Insley Pacheco, que atuou no Rio de Janeiro entre 1855 e 1912, sendo um dos responsáveis pela elaboração e divulgação da imagem fotográfica de D. Pedro II. Através das obras de Insley Pacheco, é possível estudar a construção da auto-imagem de um cidadão moderno na corte brasileira, neste período. A dissertação percorre das imagens - fotografias e pinturas - aos anúncios e escritos que fazem referência a Insley Pacheco. Para apresentar as imagens coletadas e levantadas durante a pesquisa, optou-se pela organização de um álbum, no qual diversas categorias de imagens realizadas por este autor, são reunidas<br>Abstract: This work presents a research on Joaquim Insley Pacheco's work in photography and painting. He was active between 1855 and 1912 in Rio de Janeiro and is responsible for the documentation and distribution of the photographic image of the emperor D Pedro II. Through the works of Insley Pacheco, we can study the development of the self-image of a modern citizen in the Brazilian court. The essay analyzis goes from the images - photographs and paintings - to writings and advertisings that make reference to Insley Pacheco. The presentation of the images found and collected during the research is done in a separate album, organized so that the several categories of images made by this author are grouped<br>Mestrado<br>Mestre em Multimeios
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Carlisle, Tara McDermott. "Adélaide Labille-Guiard and Elisabeth Vigée-Lebrun: Portraitists in the Age of the French Revolution." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc332771/.
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This thesis examines the portraiture of Elisabeth Vigée-Lebrun and Adélaide Labille-Guiard within the context of their time. Analysis of specific portraits in American collections is provided, along with an examination of their careers: early education, Academic Royale membership, Salon exhibitions, and the French Revolution. Discussion includes the artists' opposing stylistic heritages, as well as the influences of their patronage, the French art academy and art criticism. This study finds that Salon critics compared their paintings, but not with the intention of creating a bitter personal and professional rivalry between them as presumed by some twentieth-century art historians. This thesis concludes those critics simply addressed their opposing artistic styles and that no such rivalry existed.
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Paes, Luciana Lourenço 1984. "As representações de A morte de Ofélia na obra de Eugène Delacroix." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279594.
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Orientador: Cláudia Valladão de Mattos<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas<br>Made available in DSpace on 2018-08-26T09:08:07Z (GMT). No. of bitstreams: 1
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Previous issue date: 2014<br>Resumo: A presente pesquisa tem como objetivo analisar as representações da morte de Ofélia na obra do pintor francês Eugène Delacroix (1798-1863), pensando sua relação com a tradição visual ligada à representação de Vênus e do suicídio feminino, com outras obras do artista e de seus contemporâneos, com a noção de "teatral" em pintura e com o contexto da pesquisa psiquiátrica na França na primeira metade do séc. XIX<br>Abstract: The present paper intends to analyze the representations of Ophelia¿s death in the production of the French painter Eugène Delacroix (1798-1863), reflecting on its relationship with the visual tradition of Venus and the feminine suicide, with other works by the artist and his contemporaries, with the notion of "theatrical" in painting and with the context of psychiatric research in the first half of nineteenth-century France<br>Mestrado<br>Historia da Arte<br>Mestra em História
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Kulikova, Galina [Verfasser], and Frank [Akademischer Betreuer] Krüger. "Source parameters of the major historical earthquakes in the Tien-Shan region from the late 19th to the early 20th century / Galina Kulikova ; Betreuer: Frank Krüger." Potsdam : Universität Potsdam, 2016. http://d-nb.info/1218400196/34.
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Dluzak, Catherine M. "An investigation into the influence of the Tiffany Studios in the ecclesiastical stained glass windows commissioned in Indianapolis, Indiana between 1880-1930." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1118169.
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This thesis investigates the influence of the Tiffany Studios in ecclesiastical stained glass windows of Indianapolis, Indiana. The Tiffany Studios was a leading stained glass manufacturer at the turn of the century and popularized the use of opalescent glass in stained glass commissions. The following study will briefly look at the history of stained glass, discuss the life of Louis Comfort Tiffany, characterize the work of the Tiffany Studios, and evaluate the ecclesiastical stained glass windows located in Center Township commissioned between 1880-1930. The evidence contained within the stained glass summaries suggests that Tiffany Studios did influence the commission of stained glass windows in Indianapolis during the period under review.<br>Department of Architecture
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Anderson, Mark Steven. "The historical archaeology of Marothodi : towards an understanding of space, identity and the organisation of production at an early 19th century Tlokwa capital in the Pilansberg region of South Africa." Doctoral thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/8924.
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Includes bibliographical references (leaves 333-355).<br>This thesis advocates the application of an interdisciplinary approach to the historical archaeology of Tswana towns of the late Moloko period in South Africa, and asserts the importance of examining such sites on a case by case basis against the defined backdrop of their unique historical, political and biophysical contexts. The early 19th century Tlokwa capital of Marothodi, in the Pilanesberg region of South Africa, forms the focus of a study through which the value of this approach is demonstrated. The historical, political and biophysical context of the site is explored, with an emphasis on Tlokwa oral traditions. Archaeological investigation reveals details of settlement organisation, while preliminary ceramic analysis contributes to an understanding of ancestral identity, indicating a possible affinity with early Fokeng lineages stemming from Northern Nguni origins. All of the above is relevant to one particular aspect of production. The organisation of both iron and copper production at Marothodi is explored and analysed against the wider contextual backdrop of the capital. The intensification of metallurgical output, and the adaptation of Tswana cultural codes to the unprecedented demands of living in an aggregated community, demonstrate the degree to which historical context could influence the organisation of production, and consequently the archaeological expression of the town. In summary, this research suggests a period of ascendant political status for the Tlokwa at this time in the history of the chiefdom; a conclusion that could only have been reached through a combination of historical, biophysical, ethnographic and archaeological data.
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Renard, Margot. "Les images du récit national : illustrer l'Histoire de France entre 1814 et 1848." Thesis, Université Grenoble Alpes (ComUE), 2018. http://www.theses.fr/2018GREAH033.
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Henri IV et son panache blanc, Jeanne d’Arc en armure, Vercingétorix vaincu amené devant César… ces représentations liées à l’histoire de France nous sont aujourd’hui familières. Pourtant leur origine est ancienne : elles apparaissent dès la première moitié du XIXe siècle dans les arts visuels et dans l’historiographie, lorsqu’émerge la vogue de l’histoire, et spécialement de l’histoire nationale. Le médium de l’illustration, alors en plein essor, devient un agent efficace de la création et de la diffusion de représentations liées à l’histoire de France. En effet, les éditeurs en quête de formules éditoriales plus séduisantes commencent à intégrer des illustrations dans les ouvrages historiques savants, lorsqu’une telle association semblait auparavant délicate. Cette thèse se propose donc d’étudier les illustrations produites pour les ouvrages historiques parus entre 1814 et 1848. Les ouvrages historiques illustrés s’adressent à un lectorat de plus en plus large, que nous distinguons en termes de classes sociales (populaire, bourgeois) et d’âges (adultes, enfants). Les discours comme les illustrations tentent donc de s’adapter aux attentes et aux dispositions de ces divers lectorats, ce que nous étudierons dans le premier chapitre. Une part de la vogue pour les ouvrages historiques illustrés vient de ce qu’ils font écho aux préoccupations contemporaines : la question de la fondation de la France en tant que nation, en particulier, soulève de vastes débats. Notre deuxième chapitre examinera donc l’illustration de l’historiographie des périodes considérées comme fondatrices, le haut Moyen-Age et la Révolution française. Enfin, si l’historiographie illustrée de cette période apparaît très francocentrée, certains ouvrages viennent éveiller l’intérêt des lecteurs pour une histoire aux échelles « micro » ou macro », intéressée par l’histoire régionale et par l’histoire transnationale (troisième chapitre). Au fil du temps et des publications illustrées émergent donc des schémas iconographiques récurrents, contribuant à enraciner un récit historique iconotextuel, hybride de texte et d’images, dans l’imaginaire national<br>Which images pop into the minds of Frenchmen when they recall their national history? Henry IV and his white panache, Joan of Arc in her armor, or Vercingétorix and his long hair. Where do these representations come from? How did they develop and with which narrative? This dissertation aims at studying the origins of these images : the spreading of the illustrated historical narrative in France from 1814 to 1848. Indeed, in these years, a true economy of the illustrated history book emerged. These illustrated narratives – these iconotexts – progressively clarified and strengthened a national history in image on which French identity was leaning on. The illustration of history developed interacting with other historical-focused media: theater, panorama, and especially history painting, standing as a model from which to set apart in order to find its own language. Over the course of time and publications, iconotextual patterns established themselves. Therefore, the illustration of history, spread through a larger and larger audience, contributed to the rooting of a national historical narrative into the collective psyche