French dramatists of the 19th century /

Mode of access: Internet.

Perpetual motion; comprising a history of the efforts to attain self-motive mechanism, with a classified, illustrated, collection and explanation of the devices whereby it has been sought and why they failed, and comprising also a revision and re-arrangement of the information afforded by "Search for self-motive power during the 17th, 18th and 19th centuries," London, 1861, and "A history of the search for self-motive power from the 13th to the 19th century," London, 1870, by Henry Dircks ...

Mode of access: Internet.

Toxinology in Australia's colonial era: A chronology and perspective of human envenomation in 19th century Australia

The medical management of those envenomed by snakes, spiders and poisonous fish in Australia featured extensively in the writings 19th century doctors, expeditioners and anthropologists. Against the background of this introduced medical doctrine there already existed an extensive tradition of Aboriginal medical lore; techniques of heat treatment, suction, incision and the application of plant-derived pharmacological substances featured extensively in the management of envenomed victims. The application of a hair-string or grass-string ligature, suctioning of the bite-site and incision were practised in a variety of combinations. Such evolved independently of and pre-dated such practices, which were promoted extensively by immigrant European doctors in the late 19th century. Pacific scientific toxinology began in the 17th century with Don Diego de Prado y Tovar's 1606 account of ciguatera. By the end of the 19th century more than 30 papers and books had defined the natural history of Australian elapid poisoning. The medical management of snakebite in Australia was the focus of great controversy from 1860 to 1900. Dogmatic claims of the supposed antidote efficacy of intravenous ammonia by Professor G.B. Halford, and that of strychnine by Dr. Augustus Mueller, claimed mainstream medical attention. This era of potential iatrogenic disaster and dogma was brought to a conclusion by the objective experiments of Joseph Lauterer and Thomas Lane Bancroft in 1890 in Brisbane; and by those of C.J. Martin (from 1893) and Frank Tidswell (from 1898), both of Sydney. The modern era of Australian toxinology developed as a direct consequence of Calmette's discovery, in Paris in 1894, of immune serum, which was protective against snakebite. We review the key contributors and discoveries of toxinology in colonial Australia.

Professions, class and society:solicitors in 19th century Birmingham

The thesis provides an analysis of an occupation in the process of making itself a profession. The solicitors' profession in Birmingham underwent a great many changes during the 19th century against a background of industrialisation and urbanisation. The solicitors' conception of their status and role, in the face of these challenges, had implications for successful strategies of professionalisation. The increased prestige and power of the profession, and especially its elite, are examined in their social context rather than in terms of a technical process, or educational and organisational change. The thesis argues that -the profession's social relationships and broad concerns were significant in establishing solicitors as "professional men". In particular these are related to the profession's efforts to gain control of markets for legal services and increase social status. In the course of achieving these aims a concept of profession and a self-image were articulated by solicitors in order to persuade society and the state of the legitimacy of their claims. The concept of the gentlemanly professional was of critical importance in this instance. The successful creation of a provincial professional "community" by the end of the 19th century rested principally on a social and moral conception of professionalism rather than one which stressed specialised training and knowledge, professional organisations and credentials.

The contribution of Victor Hugo to the liberation, emancipation, and changing perceptions of women in 19th century French society

The over-riding perceptions of Victor Hugo’s attitudes towards women are intensely coloured by his deep-seated Romanticism and his well-testified, stifling and over-bearing treatment of women in his personal life. As such, Hugo’s contribution to the feminist struggle of his time has been woefully overlooked in the larger scheme of his social and political activism. Through a close examination of his largely unstudied public discourse on women’s rights, this thesis situates Hugo’s feminist views firmly in the context of Enlightenment feminism and 19th century feminism, while also drawing heavily on the illuminating principles of Enlightenment feminism. In particular, this thesis examines Hugo’s support for several of the most determining issues of 19th century French feminism, including women’s right to education, equal citizenship, universal suffrage rights, and the issue of regulated prostitution. Further, by examining the way in which Hugo’s views on women’s maternal role extended far beyond the limited vision of domesticity bolstered by the ideology of ‘republican motherhood’, this thesis engages in a re-appraisal of Hugo’s literary representation of maternity which identifies the maternal as a universal quality of devotion and self-sacrifice to which all humankind must aspire for the creation of a just, egalitarian, and democratic society. Though at times inevitably constrained by his Romanticism, this thesis demonstrates the extent to which Hugo’s feminism is grounded in his wider vision of social emancipation and is underpinned by a profound empathy, compassion, and moral conscience – qualities which are just as fundamental today, as they were for Hugo when participating in the fitful, though decisive, feminist struggle in 19th century France.

Commandeering Aesop’s Bamboo Canon: A 19th Century Confederacy of Creole Fugitive Fables

In my thesis, “Commandeering Aesop’s Bamboo Canon: A 19th Century Confederacy of Creole Fugitive Fables,” I ask and answer the ‘Who? What? Where? When? Why?” of Creole Literature using the 19th century production of Aesopian fables as clues to resolve a set of linguistic, historical, literary, and geographical enigmas pertaining the ‘birth-place(s)’ of Creolophone Literatures in the Caribbean Sea, North and South America, as well as the Indian Ocean. Focusing on the fables in Martinique (1846), Reunion Island (1826), and Mauritius (1822), my thesis should read be as an attempt capture the links between these islands through the creation of a particular archive defined as a cartulary-chronicle, a diplomatic codex, or simply a map in which I chart and trace the flight of the founding documents relating to the lives of the individual authors, editors, and printers in order to illustrate the articulation of a formal and informal confederation that enabled the global and local institutional promotion of Creole Literature. While I integrate various genres and multi-polar networks between the authors of this 19th century canon comprised of sacred and secular texts such as proclamations, catechisms, and proverbs, the principle literary genre charted in my thesis are collections of fables inspired by French 17th century French Classical fabulist, Jean de la Fontaine. Often described as the ‘matrix’ of Creolophone Literature, these blues and fables constitute the base of the canon, and are usually described as either ‘translated,’ ‘adapted,’ and even ‘cross-dressed’ into Creole in all of the French Creolophone spaces. My documentation of their transnational sprouting offers proof of an opaque canonical formation of Creole popular literature. By constituting this archive, I emphasize the fact that despite 200 years of critical reception and major developments and discoveries on behalf of Creole language pedagogues, literary scholars, linguists, historians, librarians, archivist, and museum curators, up until now not only have none have curated this literature as a formal canon. I also offer new empirical evidence in order to try and solve the enigma of “How?” the fables materially circulated between the islands, and seek to come to terms with the anonymous nature of the texts, some of which were published under pseudonyms. I argue that part of the confusion on the part of scholars has been the result of being willfully taken by surprise or defrauded by the authors, or ‘bamboozled’ as I put it. The major paradigmatic shift in my thesis is that while I acknowledge La Fontaine as the base of this literary canon, I ultimately bypass him to trace the ancient literary genealogy of fables to the infamous Aesop the Phrygian, whose biography – the first of a slave in the history of the world – and subsequent use of fables reflects a ‘hidden transcript’ of ‘masked political critique’ between ‘master and slave classes’ in the 4th Century B.C.E. Greece.

This archive draws on, connects and critiques the methodologies of several disciplinary fields. I use post-colonial literary studies to map the literary genealogies Aesop; use a comparative historical approach to the abolitions of slavery in both the 19th century Caribbean and the Indian Ocean; and chart the early appearance of folk music in early colonial societies through Musicology and Performance Studies. Through the use of Sociolinguistics and theories of language revival, ecology, and change, I develop an approach of ‘reflexive Creolistics’ that I ultimately hope will offer new educational opportunities to Creole speakers. While it is my desire that this archive serves linguists, book collectors, and historians for further scientific inquiry into the innate international nature of Creole language, I also hope that this innovative material defense and illustration of Creole Literature will transform the consciousness of Creolophones (native and non-native) who too remain ‘bamboozled’ by the archive. My goal is to erase the ‘unthinkability’ of the existence of this ancient maritime creole literary canon from the collective cultural imaginary of readers around the globe.

EXTENDED-RANGE OBOE: THE IMPACT OF TECHNICAL AND MUSICAL ADVANCEMENTS IN 19th-CENTURY AND CONTEMPORARY OBOE REPERTOIRE

I believe that the purpose of expanding the oboe’s repertoire is to not only create original compositions, but to also utilize technical advancements in order to achieve access to a wider range of repertoire through the art of transcription. This paper examines the various paths to achieving such expansion, including utilizing unique performer skills, use of auxiliary instruments, advancements in the instrument itself and musical developments that challenge the perception of the oboe’s solo role in a particular era of music history. The oboe need not be relegated to the confines of a compositionally limited stereotype. The goal of my “extended-range” dissertation project is to expand the “range” of programmable repertoire, with a focus on music in both the 19th and 21st-centuries, while simultaneously expanding the technical capabilities and expectations of the modern oboe—in part by exploiting the new possibilities of the recently invented low-A extension key.

Ethics and materials: Some Spanish Cases

The problem is general: modern architects and engineers are trying to understand historic structures using the wrong theoretical frame, the classic (elastic) thery of structures developed in the 19th Century for iron and stell, and in the 20th century for reinforced concrete, disguised with "modern" computer packages, mainly FEM, but also others. Masonry is an essentially different material, and the structural equations must be adapted accordingly. It is not a matter of "taste" or "opinion", and the consequences are before us. Since, say 1920s, historic monuments have suffered the aggression of generations of archietcts and engineers, trying to transform masonry in reinfored concrete or steel. The damage to the monuments and the expense has been, and is, enormous. However, as we have an adequate theory (modern limit analysis of masonry structures, Heyman 1966) which encompasses the "old theory" used successfully by the 18th and 19th Century practical engineers (from Perronet to Sejourné), it is a matter of "Ethics" not to use the wrong approach. It is also "contra natura" to modify the material masonry with indiscriminate injections, stitchings, etc. It is insane to consider, suddenly, that buildings which are Centuries or milennia old, are suddenly in danger of collapse. Maintenance is necessary but not the actual destruction of the constructive essence of the monument. A cocktail of "ignorance, fear and greed" is acting under the best of intentions.

Colour Symbolism, Colour Preference in Hungarian Folklore and Folk Architecture"

The Hungarian way of decoration has certain characteristics which are rooted in the deep symbolism of ancient Hungarian mythical thinking. The ancient heritage of the Hungarians' former homeland somewhere in the Urals included eastern elements. During their migrations, the Hungarian tribes met other eastern peoples and their culture of decoration became mixed with elements drawn from these new contacts. These diverse influences mean that the Hungarian way of thinking, building and ornamentation show a certain dualism of Puritanism and rationalism in the creation of space and manufacturing, and rich fantasy in decoration and ornamentation. The Hungarians use coloured ornamentation to emphasise the symbolic importance of details. The colouring system of the built environment shows the same dualism: the main colour of the facades and inner walls is white, while the furniture, textiles, gates and windows, and sometimes the gable and fireplace are richly decorated. In Hungarian symbolism, the house and settlement are a model of the universe, so their different parts also have a transcendent meaning. The traditional meanings of the different colours reflect this transcendence. Each colour has ambivalent meanings: RED - the colour of blood - means violence and love. YELLOW - means sickness, death and ripeness (golden yellow). BLUE - means innocence, eternity (light blue) and old age, death (dark blue). BLACK - can be both ceremonial and mourning. WHILE - can have sacred meaning (bright white), while yellowish white fabric is the most common garb of both men and women in village society. GREEN - the only colour without a dual meaning, symbolises the beginning of life. Until the late 18th and early 19th centuries Hungarian folk art used one or two-coloured decoration (red, black, blue, red-blue or red-black), and from the early 19th century it moved to multi-coloured decoration. Colours are characteristically used in complementary contrast, with bright colours on a plain ground and an avoidance of subtle shadings.

La modernisation de Tunis : un urbanisme et une architecture d’État au miroir d’une anthologie de la percée dans la médina (1881-1987)

Cette thèse traite de quelques moments clés dans l’histoire urbaine et architecturale moderne de la ville de Tunis. Elle les aborde conjointement à la problématique du percement de son noyau historique : la médina, née d’un projet de modernisation urbaine lancé par les beys de Tunis à la fin du XIXe siècle, poursuivi par le protectorat français de 1881 à 1956, puis par le gouvernement indépendant de 1956 à 1987. Partant, la recherche est répartie sur trois temps avec, au centre, le projet de la percée dite de la Casbah adopté par le Président Bourguiba à la fin de 1959. Pour plusieurs raisons, ce moment est cité rapidement dans la littérature malgré son importance dans la compréhension du visage actuel de la capitale tunisienne. Pour le saisir, on a dû retourner aux premières tentatives de percement de la médina de Tunis par le colonisateur français en 1887. Puis, on s’est progressivement approché de l’ancêtre direct de la percée bourguibienne paru sur le Plan directeur de Tunis en 1948. De ce premier temps, on a mis en valeur les stratégies coloniales dans leur gestion du territoire et leur rapport au processus de valorisation/dévalorisation du patrimoine issu de la civilisation arabo-islamique. Le second temps, qui correspond au plan de décolonisation mené par l’État indépendant dès 1955, est marqué par le lancement d’un « concours international ouvert pour une étude d’aménagement de la ville de Tunis » organisé par le Secrétariat d’État aux travaux publics en collaboration avec l’Union internationale des architectes. L’étude de cet événement et du colloque qui l’a suivi a ôté le voile sur ses raisons d’être politico-économiques que dissimulaient les usuels soucis de l’hygiène, de la circulation et de l’embellissement du Grand Tunis. Pour appuyer davantage ces constats, un troisième et dernier temps a été dédié au chantier de Tunis au lendemain du concours. L’accent mis sur les lieux symboliques du pouvoir et le désir obsessif des autorités à se les approprier ont réduit ce chantier à une redistribution concertée des symboles de la souveraineté nationale dans le but de centraliser et de personnifier le pouvoir en place. Le présent travail se situe dans le cadre des études postcoloniales et projette un regard critique sur la décolonisation en rapport avec ce qu’on a taxé d’urbanisme d’État. Propulsé par une certaine perception de la modernité, cet urbanisme est indissociable d’une instrumentalisation politique qui met l’accent sur les questions identitaires et patrimoniales, insiste sur la rupture avec le passé et tend à écarter l’opinion publique des questions inhérentes à l’aménagement du territoire et à la sauvegarde de la mémoire collective. En procédant par une analyse contextuelle de faits historiques et une lecture typomorphologique de la percée de la Casbah, cette recherche attire l’attention sur l’ampleur de certaines décisions gouvernementales concernant l’aménagement de l’espace urbain et la conservation de l’héritage architectural à court, moyen et long termes. Elle renseigne aussi sur le rôle des collectivités, de l’élite et des professionnels dans la canalisation de ces décisions pour ou contre leur droit à la ville.