History, revolution and the British popular novel: historical fiction in the romantic age

“History, Revolution and the British Popular Novel” takes as its focus the significant role which historical fiction played within the French Revolution debate and its aftermath. Examining the complex intersection of the genre with the political and historical dialogue generated by the French Revolution crisis, the thesis contends that contemporary fascination with the historical episode of the Revolution, and the fundamental importance of history to the disputes which raged about questions of tradition and change, and the meaning of the British national past, led to the emergence of increasingly complex forms of fictional historical narrative during the “war of ideas.” Considering the varying ways in which novelists such as Charlotte Smith, William Godwin, Mary Robinson, Helen Craik, Clara Reeve, John Moore, Edward Sayer, Mary Charlton, Ann Thomas, George Walker and Jane West engaged with the historical contexts of the Revolution debate, my discussion juxtaposes the manner in which English Jacobin novelists inserted the radical critique of the Jacobin novel into the wider arena of history with anti-Jacobin deployments of the historical to combat the revolutionary threat and internal moves for socio-political restructuring. I argue that the use of imaginative historical narrative to contribute to the ongoing dialogue surrounding the Revolution, and offer political and historical guidance to readers, represented a significant element within the literature of the Revolution crisis. The thesis also identifies the diverse body of historical fiction which materialised amidst the Revolution controversy as a key context within which to understand the emergence of Scott’s national historical novel in 1814, and the broader field of historical fiction in the era of Waterloo. Tracing the continued engagement with revolutionary and political concerns evident in the early Waverley novels, Frances Burney’s The Wanderer (1814), William Godwin’s Mandeville (1816), and Mary Shelley’s Valperga (1823), my discussion concludes by arguing that Godwin’s and Shelley’s extension of the mode of historical fiction initially envisioned by Godwin in the revolutionary decade, and their shared endeavour to retrieve the possibility enshrined within the republican past, appeared as a significant counter to the model of history and fiction developed by Walter Scott in the post-revolutionary epoch.

Indication of electron neutrino appearance from an accelerator-produced off-axis muon neutrino beam.

The T2K experiment observes indications of ν(μ) → ν(e) appearance in data accumulated with 1.43×10(20) protons on target. Six events pass all selection criteria at the far detector. In a three-flavor neutrino oscillation scenario with |Δm(23)(2)| = 2.4×10(-3)  eV(2), sin(2)2θ(23) = 1 and sin(2)2θ(13) = 0, the expected number of such events is 1.5±0.3(syst). Under this hypothesis, the probability to observe six or more candidate events is 7×10(-3), equivalent to 2.5σ significance. At 90% C.L., the data are consistent with 0.03(0.04) < sin(2)2θ(13) < 0.28(0.34) for δ(CP) = 0 and a normal (inverted) hierarchy.

USE OF VARIATION AND FUGUE IN PIANO MUSIC FOLLOWING THE CLASSICAL PERIOD

The variation and fugue originated from the 15th and 16th centuries and blossomed during the Baroque and Classical Periods. In a variation, a theme with a particular structure precedes a series of pieces that usually have the same or very similar structure. A fugue is a work written in imitative counterpoint in which the theme is stated successively in all voices of polyphonic texture. Beethoven’s use of variation and fugue in large scale works greatly influenced his contemporaries. After the Classical Period, variations continued to be popular, and numerous composers employed the technique in various musical genres. Fugues had pedagogical associations, and by the middle of 19th century became a requirement in conservatory instruction, modeled after Bach’s Well-Tempered Clavier. In the 20th century, the fugue was revived in the spirit of neoclassicism; it was incorporated in sonatas, and sets of preludes and fugues were composed. Schubert's Wanderer Fantasy presents his song Der Wanderer through thematic transformations, including a fugue and a set of variations. Liszt was highly influenced by this, as shown in his thematic transformations and the fugue as one of the transformations in his Sonata in b. In Schumann’s Symphonic Études, Rachmaninoff's Rhapsody on a Theme of Paganini and Copland’s Piano Variations, the variation serves as the basis for the entire work. Prokofiev and Schubert take a different approach in Piano Concerto No. 3 and Wanderer Fantasy, employing the variation in a single movement. Unlike Schubert and Liszt's use of the fugue as a part of the piece or movement, Franck’s Prelude Chorale et Fugue and Shchedrin’s Polyphonic Notebook use it in its independent form. Since the Classical Period, the variation and fugue have evolved from stylistic and technical influences of earlier composers. It is interesting and remarkable to observe the unique effects each had on a particular work. As true and dependable classic forms, they remain popular by offering the composer an organizational framework for musical imagination.

O herói sublime: figuras e figuração

Tese dout., Literatura Comparada, Faculdade de Letras da Universidade de Lisboa, 2006

Letter - E.C. Schmon to Arthur A. Schmon, 10 October 1917

She begins by apologizing for telling Arthur he should have written to his mother when he was in Halifax. Eleanore Celeste just heard that his mother did receive a letter, but it came two weeks after she had received her letter. She writes about her studies in history, and the books she has read ("A Wanderer in London"). A small paragraph is written in french. The letter is labelled number 10.

Winterreise et Die sieben Todsünden : un regard sur l’aliénation du sujet moderne

La version intégrale de cette thèse est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU).

De las investigaciones pedagógicas.

Se presentan resultados parciales de un proyecto de investigación concebido con el objetivo de analizar los regímenes de verdad sobre la educación matemática del campo, considerando como referencial teórico el área de las etnomatemáticas en sus entrecruzamientos con el pensamiento de Michel Foucault y las formulaciones de Ludwig Wittgenstein en su obra Investigaciones filosóficas. El material de investigación es constituido por informes de entrevistas, realizadas por estudiantes de un curso de pedagogía, con educadores del campo del sur del país sobre cuestiones vinculadas a la educación matemática. El análisis del material empírico hizo emerger el enunciado que dice de la importancia del uso de materiales concretos en las clases de matemáticas. El artículo problematiza esa verdad que circula en el pensamiento educacional brasileño contemporáneo, en el orden del discurso de la educación matemática.

Sleepwalking certainties: agency, aesthetics, and incapacity in W.G. Sebald’s 'Austerlitz' and Hermann Broch’s 'The Sleepwalkers'

When we first encounter the narrator of Austerlitz, he is wandering around the unfamiliar town of Antwerp with, he tells us, “unsicheren Schritten” (1; 9). As well as reflecting the unfamiliarity of the locale, these “uncertain steps” evince a proud modesty characteristic of the classic Sebaldian narrator, a wanderer who discreetly relays the stories of the people and places he is privileged to encounter. Although Sebald does not use the phrase, steps of this sort, unpurposed yet unerring, are made with what is commonly known in German as somnambule Sicherheit: the legendary surefootedness of the sleepwalker. The convergence of sleepwalking and certainty in a single phrase poses an interesting challenge to one of the central tenets of the English-language canonization of Sebald, for his writing has been most highly valued for its ability to move the reader through apparent certainties towards a salutary uncertainty. But somnambule Sicherheit also presents the possibility that the current may be reversed, that narrative may move under cover of uncertainty towards certainty. That Sebald criticism has not been more troubled by this possibility is in no small part due to the fact that it tends to deploy the notion of sleepwalking with a minimum of reflection on its theoretical ramifications. To evoke some of the complexities of this matter, I first offer a brief cultural history of sleepwalking, as well as a brief account of the topic of uncertainty in Sebald criticism. Most of my argument, however, involves an extended comparative analysis of sleepwalking in Sebald's Austerlitz and Hermann Broch's 1933 trilogy The Sleepwalkers. Although these writers have not previously been the object of any sustained comparison, sleepwalking in Broch's novels illuminates much that is left implicit on the topic in Sebald's fiction and points toward some difficult questions regarding the role of aesthetics and agency in Sebald's work.

Produção de mudas e rendimento de biomassa de melissa (Melissa officinalis L.) sob diferentes espaçamentos de plantas e coberturas de solo

Os objetivos gerais do presente trabalho foram: fomentar o cultivo de melissa como uma opção para os agricultores familiares, através da produção de matéria-prima de alta qualidade; oportunizar a produção de fitoterápicos; reduzir a importação de matéria-prima; e levantar subsídios que possam fortalecer a cadeia produtiva de plantas medicinais, com ênfase na Melissa officinalis L.

Road wanderers in Brazil: a study on modern psychosocial human mobility

Human mobility patterns are quite diverse nowadays and a very singular, extreme pattern is seen in the Brazilian scene: road wandering. Road wanderers are individuals who leave their home, family, work and other territories of a settled life and throw themselves into a life of solitary wandering along Brazilian highways. This study aimed to describe the lifestyle of road wanderers, investigate the reasons that led them choose this way of living and understand it against a background of modern human mobility patterns. A total of 63 interviews were conducted with individuals wandering on road shoulders. We found road wandering is associated with the following determinants: poverty; unemployment; marital conflicts; emotional suffering following the loss of loved ones; desires for adventure and freedom; and cultural symbols related to journey, migration, exodus and other modes of displacement. Despite its particularities, road wandering can be understood as a way of human mobility in the modern world.

O conceito de região e problemas filosóficos: significado epistemológico da história regional e a constituição histórica do espaço liso e do espaço estriado

The concept of region raises two related historical problems. First of all, it concerns the epistemological accomplishment of regional history, since the need to provide a total history, one of the main challenges of the Annales movement, undergoes an impact with the notion of local, so that the overflight of the historic totality becomes nowadays an intensive totality. The historian who overflies the reality is replaced by the wanderer historian. In addition to this epistemological question, we can think about the historical feature of spaces. From an ontological point of view, according to the modes of its composition, as well as from the standpoint of its practical constitution, space can be either smooth or striated. These types of space belong to the Gilles Deleuze s nomadology and their definition might improve the characterization and description of historical spaces with regard to a certain contemporary historiographical movement known as the New Cultural History.Key Words: history;space;nomadism.

América latina: as coisas para além delas mesmas

If Plato compared the artist's work a reflection of the things, the contemporary art transcends the projection of things beyond themselves by creating unusual pictures, requiring the reader a posture of meanings' digger to establish the signification. Our object is the mestizo, hybrid and heterogeneous Latin America presented by sensitive eyes of art. We chose the route of ambiguous and poetic language of art, selected three works of Brazilian artist Regina Silveira since the last two decades has sought to un/construction of the image from the shadow, reflection, anamorphic projections, which offers unusual images, poetic visual paradoxes. Art as a mirror labyrinth where the reader/viewer as a wanderer without contemporary "gps" to select territories where will step from a map that he will have to build.

Aus schmelzendem Eis. Funde vom Schnidejoch.

Am Ende des Hitzesommers 2003 entdeckten Wanderer am Rande eines kleinen Eisfeldes erstmals prähistorische Objekte. Die Fundstelle liegt am Schnidejoch, einem alpinen Übergang, der das Simmental mit dem Rhônetal verbindet. Bis heute liegen von dieser außergewöhnlichen Fundstelle rund 900 Funde vom Neolithikum bis zum Mittelalter vor. Die Forschungen am Schnidejoch können auch als „Archäologie zwischen Gletschern und Gipfeln“ bezeichnet werden. Die Fundstelle befindet sich auf 2750 m Höhe und wird von der höchsten Erhebung der westlichen Berner Alpen, dem 3248 m hohen Wildhorn, überragt. Die ältesten Objekte werden in die Zeitspanne von 4800 bis 4300 v. Chr. datiert. Es handelt sich um Fragmente von Pfeilen und um eine Schale aus Ulmenholz. Weitere Leder- und Pfeilfragmente zeigen, dass der Pass auch in der zweiten Hälfte des 4. Jahrtausends v. Chr. benutzt wurde. Eine ganze Serie von Objekten stammt aus dem Zeitraum um 2800 v. Chr.: eine komplette Bogenausrüstung, bestehend aus Pfeilbogen, Bogensehne, Bogenfutteral, Pfeilschäften und Pfeilspitzen. Ebenfalls zu diesem Ensemble gehören Bekleidungsreste: Teile eines Grasumhangs, Schuhfragmente und ein Hosenbein aus Leder. Es ist wenig wahrscheinlich, dass die in den Bergen lebensnotwendige Bekleidung und die Bewaffnung einfach verloren wurden. Es ist deshalb zu vermuten, dass am Schnidejoch vor fast 5000 Jahren jemand zu Tode kam; eine Leiche wurde aber – anders als beim „Ötzi“ – nicht gefunden. Möglicherweise wurde die am Schnidejoch umgekommene Person geborgen und in einem zeitgleich errichteten Kollektivgrab im Tal bestattet.

A computer-based systematic survey reveals the predominance of small inverted-repeat elements in wild-type rice genes.

Several recent reports indicate that mobile elements are frequently found in and flanking many wild-type plant genes. To determine the extent of this association, we performed computer-based systematic searches to identify mobile elements in the genes of two "model" plants, Oryza sativa (domesticated rice) and Arabidopsis thaliana. Whereas 32 common sequences belonging to nine putative mobile element families were found in the noncoding regions of rice genes, none were found in Arabidopsis genes. Five of the nine families (Gaijin, Castaway, Ditto, Wanderer, and Explorer) are first described in this report, while the other four were described previously (Tourist, Stowaway, p-SINE1, and Amy/LTP). Sequence similarity, structural similarity, and documentation of past mobility strongly suggests that many of the rice common sequences are bona fide mobile elements. Members of four of the new rice mobile element families are similar in some respects to members of the previously identified inverted-repeat element families, Tourist and Stowaway. Together these elements are the most prevalent type of transposons found in the rice genes surveyed and form a unique collection of inverted-repeat transposons we refer to as miniature inverted-repeat transposable elements or MITEs. The sequence and structure of MITEs are clearly distinct from short or long interspersed nuclear elements (SINEs or LINEs), the most common transposable elements associated with mammalian nuclear genes. Mobile elements, therefore, are associated with both animal and plant genes, but the identity of these elements is strikingly different.

Tutti frutti.

Translator's preface signed: Edmund Spencer.