142 research outputs found
Richard Cobden, educationist, economist and statesman.
No full textThe aim of the thesis is to show that Richard Cobden
(1804-1865) deserves to be given a significant place in
the history of political, economic and social thought and
also full credit for a range of statesmanship which went
far beyond his well known part in the repeal of the Corn
Laws and the Anglo-French Commercial Treaty of 1860.
Historians have not sufficiently recognised that Cobden
sought to make fundamental changes in British society and
that he tried to initiate them by piecemeal constitutional
methods. He also believed that the British example would
have a powerful influence on other countries and thus
contribute to a new world order.
Cobden had a coherent, although unsystematised,
philosophy, based on certain major assumptions. They were,
firstly, that social progress depends on the interaction
of economic, moral and religious and educational factors;
secondly that progress towards a real political democracy
depends on progress in the former areas. A special problem
in explaining Cobden's philosophy is the fact that the
ideas of two important thinkers with whom he was associated,
George Combe (1788-1858), phrenologist (psychologist) and
Frederic Bastiat (1801-1850), economist, have been belittled
and neglected since Cobden's death. Therefore, the analysis of Cobden's thought necessitated an effort to "rehabilitate't these two thinkers.
Cobden's efforts to transform British politics and society were only partially successful in Britain's
adoption of free trade, a policy not properly understood
by most statesmen and commercial men. His work for
common schools, international schools, lyceums and
educative popular newspapers was a failure and soon
forgotten; his efforts to reform British foreign policy
and implement arms control also failed. After his death,
his followers failed to develop satisfactorily his ideas
for application to social and international problems. These
ideas still have considerable potential
The Constitution of Man
No full textThe Scotsman George Combe (1788–1858) was an energetic and vocal promoter of phrenology, natural philosophy, and secularism, who rose from humble origins to tour widely in Europe and the United States and become a best-selling author. His most famous book, The Constitution of Man, was published in 1828, and had sold approximately 350,000 copies, distributed by over 100 publishers, by 1900. It put forward Combe's version of naturalism, and was hugely influential – perhaps more so even than Charles Darwin – in changing popular understanding of the place of humanity in the natural order, as subject to natural laws (physical, organic and moral). Combe's essay illustrates the relations between these laws with a view to the improvement of education and the regulation of individual conduct. It stirred up enormous controversy for decades after its publication, and is central to the understanding of the philosophical and scientific debates of the Victorian period.</jats:p
L’Autoportait fragmentaire
No full textDans la littérature et l’art contemporains, un certain nombre d’œuvres se définissent plus ou moins explicitement comme des autoportraits, tout en assumant, et même en revendiquant, une structure fragmentaire. Faites de pièces et de morceaux, hétérogènes, discontinues, recourant souvent à des supports multiples, elles s’inscrivent cependant dans la référence à un sujet unique, clairement identifié, à défaut d’être toujours unifié. De Roland Barthes par Roland Barthes (1975), initiateur de certaines formes contemporaines d’écriture de soi, à la toute récente collection « Traits et portraits », dont l’éditrice Colette Fellous dévoile ici les origines, un parcours se dessine à travers les genres, jalonné par les films de Jean-Luc Godard, les performances poétiques de Jacques Rebotier, le théâtre de Rodrigo Garcia, les photographies de Francis Helgorsky, les dessins d’Alberto Giacometti, ou le recueil de nouvelles, comme les Contes de Galicie d’Andrzej Stasiuk. Faut-il voir dans cette floraison d’autoportraits « en mosaïque » une dénégation de la « mort de l’auteur », par ceux-là même souvent qui l’avaient théorisée ou mise en œuvre, ou une autre forme de résistance à la constitution d’une figure d’auteur consacrée ? La réflexion présentée dans ce volume poursuit les recherches de l’équipe Traverses 19-21 (centre É.CRI.RE) récemment publiées dans Recherches & Travaux : « Figures paradoxales de l’Auteur » (n° 64) et « Fictions biographiques et arts visuels » (n° 68)
Consumptive death in Victorian literature: 1830 - 1880.
No full textPhDVictorian medical men, writers, relatives of the dying and consumptive sufferers
themselves seized on the narrative potential of representations of the disease in a
variety of ways.
I argue that both medical and lay writers subscribed to a common set of beliefs
about the disease and that medical knowledge, moreover, shared a common
narrative way of knowing and understanding it. I analyse aspects of general
clinical expository texts, including accompanying illustrations, showing how a
narrative knowledge of death and the tubercular body was elaborated.
Furthermore, I show how documents used in the compilation of medical statistics
on the cause of death were fundamentally narrative through their reliance on case
narratives.
It is demonstrated that Dickens uses a seldom noticed consumptive death and
decline to offset his heroine's development in Bleak House, in ways similar to
those developed in Jane Eyre. Similarly, it is shown that Mrs Gaskell's use of a
consumptive alcoholic 'fallen woman' unsettles her account of her heroine in Mary
Barton. George Eliot's 'Janet's Repentance' is analysed, showing how the
psychological struggle between an orientation towards life or death is played out
across both alcoholism and consumption. I also examine how consumption
presents a narrative opportunity whereby plots involving setbacks in love are
resolved through women's consumptive deaths in popular fiction by Rhoda
Broughton,Ladv Georgiana Fullerton and others. Through an examination of the Journal of Emily Shore and accounts of other actual
deaths, I illustrate how experiences and accounts of consumptive deaths were
structured and rendered intelligible through reliance on beliefs encountered in both
fiction and medicine. In conclusion, the thesis alerts readers to the presence of
signifiers of consumption in Victorian texts, showing how various narrative
strategies are integral to any understanding of representations of its dying victim
Housing conditions differentially affect physiological and behavioural stress responses of zebrafish, as well as the response to anxiolytics
No full textPMCID: PMC3324417This is an open-access article distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited
The diaboliad. [electronic resource] : A poem. Part the second. By the author of part the first. Dedicated to the worst woman in His Majesty's dominions.
No full textAuthor of part the first = William Combe.With a half-title.Electronic reproduction.English Short Title Catalog,Reproduction of original from British Library
The first of April [electronic resource] : or, the triumphs of folly: a poem. Dedicated to a celebrated dutchess. By the author of The diaboliad.
No full textThe author of the diaboliad = William Combe.Price from imprint: price Two Shillings and Six-Pence.Electronic reproduction.English Short Title Catalog,Reproduction of original from British Library
The first of April [electronic resource] : or, the triumphs of folly: a poem. Dedicated to a celebrated dutchess. By the author of The Diaboliad.
No full textThe author of The Diaboliad = William Combe.In this edition: p.iii, line 3: Reason, lie.Price from imprint: price Two Shillings and Six-Pence.Electronic reproduction.English Short Title Catalog,Reproduction of original from British Library
L’Autoportait fragmentaire
No full textDans la littérature et l’art contemporains, un certain nombre d’œuvres se définissent plus ou moins explicitement comme des autoportraits, tout en assumant, et même en revendiquant, une structure fragmentaire. Faites de pièces et de morceaux, hétérogènes, discontinues, recourant souvent à des supports multiples, elles s’inscrivent cependant dans la référence à un sujet unique, clairement identifié, à défaut d’être toujours unifié. De Roland Barthes par Roland Barthes (1975), initiateur de certaines formes contemporaines d’écriture de soi, à la toute récente collection « Traits et portraits », dont l’éditrice Colette Fellous dévoile ici les origines, un parcours se dessine à travers les genres, jalonné par les films de Jean-Luc Godard, les performances poétiques de Jacques Rebotier, le théâtre de Rodrigo Garcia, les photographies de Francis Helgorsky, les dessins d’Alberto Giacometti, ou le recueil de nouvelles, comme les Contes de Galicie d’Andrzej Stasiuk. Faut-il voir dans cette floraison d’autoportraits « en mosaïque » une dénégation de la « mort de l’auteur », par ceux-là même souvent qui l’avaient théorisée ou mise en œuvre, ou une autre forme de résistance à la constitution d’une figure d’auteur consacrée ? La réflexion présentée dans ce volume poursuit les recherches de l’équipe Traverses 19-21 (centre É.CRI.RE) récemment publiées dans Recherches & Travaux : « Figures paradoxales de l’Auteur » (n° 64) et « Fictions biographiques et arts visuels » (n° 68)
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