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Set in i le Jesus, just north of the island of Montreal, this thesis has a two-fold objective: to study the problem of the growth of agricultural production and to analyse the structure and the evolution of Canadian rural society in the eighteenth century. / The study proceeds in five stages. In order to determine what factors govern agricultural production, prevailing economic circumstances, land distribution and the system of production are examined in succession. Next, the inquiry turns to inheritance customs and peasant estates, with the aim of measuring the economic hierarchy within the peasantry, determining its nature and explaining its dynamics. / The study concludes that the slow growth of agricultural production stems essentially from limitations on production resulting from the productive framework of the family farm and the system of inheritance. On the one hand, at each generation, this system pushed the majority of young peasants out to the fringes of settlement, where they could not produce surpluses. On the other hand, it slowed down the development of older, settled land by requiring the sons who established themselves on it to recompense their co-heirs. / Moreover, the analysis of peasant estates reveals the existence of an economic hierarchy among the peasantry, a hierarchy that persists over time. The study shows that well-to-do peasants generally benefitted from early access to cleared land through inheritance. As inheritance customs were relatively egalitarian, these privileged peasants were mainly the sons of families sufficiently well-off to establish all or most of their heirs comfortably. This initial advantage becomes particularly decisive once the market for agricultural products becomes more active. One can therefore conclude that even if inheritance customs imply a certain redistribution of family property, they do not equalize peasant society at each generation.

Bibliography: leaves 202-211. / iii, 211 leaves ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--University of Adelaide, Dept. of Politics, 1995

The systematic study of orchestral practice and instrumentation in the German Baroque Opera has until now been assigned a relatively insignificant place in biographies of specific composers, or in historical studies of particular centres. Many of these works, while presenting a valuable compilation of the instrumental methode of a particular composer, or of the adoption of his style to meet the conditions of performance which prevailed from one centre to another, do not however supply their readers with a chronogically exhaustive investigation of the role of the orchestra in the baroque theatre, nor of the contribution made by theatre orchestration of the general artistic development of orchestral music as a whole.

This thesis examines the representation of Aboriginal people in Australian painting between 1850 and 1900. In particular, the thesis discusses and seeks to account for the decline in the frequency with which Aboriginal people were represented in mainstream academic art in the decades preceding Australia’s Federation in 1901. In addition, this thesis investigates the ways in which a visual discourse of Aboriginality was realised in mid- and late nineteenth-century Australian painting. / The figures of Aboriginal people formed a significant presence in Australian painting from the moment of first contact in the late eighteenth century until well into the nineteenth century. I argue that in paintings of the Australian landscape, as well as in portraiture and figure studies produced in the second half of the nineteenth century, images of Aboriginal people were used to signify the primordial difference of the antipodean landscape. In these paintings, Aboriginality emerged as a motif of Australia’s precolonial past: a timeless, arcadian realm that preceded European colonisation, and in which Aboriginal people enjoyed uncontested possession of the Australian landscape. This uncolonised landscape represented the antithesis of colonial civilisation, both spatially and temporally distinct from the colonial nation. / I argue that prior to Federation in 1901, Australian national identity was dependent upon the recognition and construction of a ‘difference’ that was seen to be implicit within the Australian landscape itself. This sense of difference derived from the settlers’ perception of the Australian environment, and became embodied in those objects which appeared most ‘different’ from settlers’ notion of the familiar. Colonial artists drew upon an iconography based upon this recognition of difference to signify the geographical identity of the landscape which they painted. Aboriginal people were central to these icons of ‘Australian-ness’. Further, the association of Aboriginal people with a precolonial Australia served to rationalise acts of colonial dispossession. / Representations of Aboriginal people dressed in a traditional manner, as well as those in which they are portrayed in European costume as ‘white but not quite’, underwrote colonial assertions of Aboriginal ‘primitiveness’ and precluded Aboriginal participation in the foundation of the Australian nation. The strengthening nationalist movement of the 1880s and 1890s meant that a new iconography was needed, one in which the triumph of the white settler culture over indigenous cultures could be celebrated. As a result, Aboriginal people began to disappear from the canvases of Australian artists, replaced by ‘white Aborigines’, who symbolised a new depth in the relationship between setter-Australia and the landscape itself. As well and more broadly, they were replaced by the image of the white frontiersman, the leitmotif of settler culture. This exclusion of Aboriginal people from the conceptualisation of the Australian nation reflects not only their ‘disenfranchisement’ within Australian society, but more significantly reveals the effectiveness with which a visual discourse of ‘Australia’ painted Aboriginal people out of existence.

These - Paris, 1919, no. 106. / "Bibliographie génerale": [1] p. at end.

In my introduction I analyse the state of research in my subject. No detailed study of the subject has been conducted in recent years, hence there exists no work which takes account of recent conclusions in the examination of Sensibility in its entirety. I, therefore, consider it important to trace the origins of a movement in European culture. I draw attention to possible influences from philosophy and psychology which have tended to be neglected in favour of too exclusive emphasis on Empfindsamkeit as secularised Pietism. The main part of my thesis is devoted to detailed interpretation of five novels covering a period 1747 to 1776. This study yields various conclusions. In the novel as a genre, as in theoretical works on Empfindsamkeit, there is no polarity between the Enlightenment and Sensibility. Each of the novelists analysed is concerned to proclaim the necessity of achieving a balance between reason and emotion. In the novels of Gellert and La Roche this is explicitly stated in the form of moral instruction to the reader, while the fate of the heroes of Goethe and Miller perhaps suggests indirectly that such an equilibrium might be desirable. In particular the earlier authors I study equate moderation in feeling with virtue. Here these novelists advocate only feeling in the cause of virtue, while at the same time arguing that those who are capable of "true feeling" are by definition virtuous. In the sphere of religion, all novelists show a tendency to regard Christianity as a matter of emotion on the one hand and of practical ethics on the other. While there was a shift in emphasis from Tugendempfindsamkeit to the cultivation of feeling for its own sake, perceptions of the nature of religions and virtue remained constant.

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Although lay patronage was abolished in 1690, the study emphasises the importance of linking that Act with the one restoring it in 1712, since there was a difference between the landed interest and the Church in their perception of both pieces of legislation. This divergence, together with the 1690 Act's placement of the heritor class into the process of ministerial election, and the vexations caused by the Abjuration Oath, combined to create the complications which undermined the Church's ability to throw off patronage. The study questions the idea that few patronage disputes arose in the first period after the Act, and goes on to examine how the intensification of Squadrone/Argathelian rivalry in the post-Union scramble for influence drew church vacancy matters inexorably into the web of politics. The most successful manipulators of patronage were Lord Ilay and Lord Milton, and a general comparison is made between their administration and that of the Marquis of Tweeddale. Skilful management of the Church's senior courts, along with a judicious preferment of ministerial loyalists, made concerted opposition to even the worst excesses of patronage, overwhelmingly difficult. The study however draws attention to one period, between 1734 and 1736, when forces antipathetic to the abuses of patronage appeared to achieve an effective unity. Finally, the study looks beyond the influence of simple party politics, to examine what local factors may have impinged upon settlements by presentation, and to this end examines the peculiar circumstances which obtained in the Presbyteries of Edinburgh, Duns and Brechin.

Collecting recipes was an established tradition that continued in elite English households throughout the eighteenth century. This thesis is on medical recipes and advice, and it addresses the evolution of recipe collecting from the seventeenth century and throughout the eighteenth century. It investigates elite domestic medicine within a cultural history of medicine framework and uses social and material history approaches to reveal why elites continued to collect medical recipes, given the commercialisation of medicine. This thesis contends that the meaning of domestic medicine must be understood within a wider context of elite healthcare in order to appreciate how the recipe collecting tradition evolved alongside cultural shifts, and shifts within the medical economy. My re-appraisal of the meaning of domestic medicine gives elite healthcare a clearer role within the narrative of the social history of medicine. Elite healthcare was about choice. Wealthy individuals had economic agency in consumerism, and recipe compilers interacted with new sources of information and products; recipe books are evidence of this consumer engagement. In addition to being household objects, recipe books had cultural significance as heirlooms, and as objects of literacy, authority, and creativity. A crucial reason for the continuation of the recipe collecting tradition was due to its continued engagement with cultural attitudes towards social obligation, knowledge exchange, taste, and sociability as an intellectual pursuit. Positioning the household as an important space of creativity, experiment, and innovation, this thesis reinforces domestic medicine as an important part of the interconnected histories of science and medicine. This thesis moreover contributes to the social history of eighteenth-century England by demonstrating the central role domestic medicine had in elite healthcare, and reveals the elite reception of the commercialisation of medicine from a consumer perspective through an investigation of personal records of intellectual pastimes and patient experiences.