This thesis set out to explore the changing nature of consumption patterns in seventeenth- and eighteenth-century London through the analysis of archaeological evidence previously excavated by the Museum of London Archaeology. The aim of this research was to address existing gaps and limitations within the existing methodology related to the excavation and analysis of these environments, to establish a more holistic method of approaching consumption practices from this period, and to explore the complexities which were being performed within the setting of these establishments. To do this, a typological system for artefact classification was developed which enabled the categorization of material by their fabric, form and their associated functions. The distribution patterns of the various types and functions across three sites and five establishments in the City of London were analyzed. The material was then assessed for patterns indicating changes in consumption. Linkages from these patterns are then made between historical themes and theoretical frameworks outlined within the thesis. Particular focus will be given to developing a better understanding of how these venues changed over time based on the degree of variation that can be perceived between the late seventeenth to the late eighteenth centuries. By exploring the character of consumption practices, I will demonstrate how they work together to provide a more complete picture of the complex systems at work. During the course of this research, specific objectives have been achieved and conclusions reached which make original contributions to the wider dialogues surrounding how meaningful patterns of consumption can be perceived and interpreted through material goods from establishments of social or public consumption. The focus on the everyday materials from closed deposits related to clearance episodes (Pearce 2000) from these establishments and their how they relate to emergent and shifting patterns of social trends in consumption is what separates this thesis from other scholarship on these and similar spaces. Significantly, this research differs from the previous examples by attempting to detect social change across a variety of classes and in a variety of different settings, all brought together in relatively modest atmospheres of social and public consumption. This has allowed for both the subtle and the overt shifts in social patterns to be detected, and from there, conclusions are drawn regarding wider social ideology.

The development of the English novel during the eighteenth century is illustrated in this thesis by the concept of the author's "mask of reality," or the rhetorical stance adopted by the novelist for the telling of his story. The novelist creates and populates a fictional world, or Kosmos, and the success of his work depends on his power to invest this illusory world with an air of reality. Through the medium of the printed word, he convinces the reader of the truth of his vision. My examination of the modes of narration in the major novels of the period clarifies their authors' use of the mask of reality. Defoe's novels seem to exclude the author from the life of the novel, allowing him to appear only on the title-page and in the editor's prefaces. Defoe uses his heroes and heroines as narrators to conceal his own presence as the creator of their world of perceptual experience. Nevertheless, the themes, images, syntactic patterns, and diction, which recur throughout the Defoe canon, enable the reader to discern, behind the mask, the existence of the author who controls and evaluates the fictional Kosmos. In Richardson's novels this authorial presence becomes more explicit in the critical prefaces and postscripts surrounding the fictional letters. Moreover, Richardson's correspondents themselves exemplify the process of fiction as they record and evaluate their fictional experiences through the medium of writing, while their letters, becoming a part of the action of the novel, bridge the gap between the fictional world of the Kosmos and the actuality of the printed text - the two realities of life and art. In Fielding's and Sterne's novels the role of the narrator becomes still more explicit with the result that the reader's attention is diverted from the contemplation of the imaginary life of the Kosmcis to the consideration of the work as a piece of fiction. The novelist's rhetoric involves the reader in the process of fiction by making him conscious of the novel as a created artifice rather than as the simple verbal representation of the world of imaginary or real experience. This pattern of development which shows the eighteenth-century English novel becoming increasingly self-conscious is examined in this thesis in relation to Cervantes' Don Quixote, which achieved renown during this period. Cervantes' influence is shown both in the minor and major works of English fiction. Charlotte Lennox, Smollett, and Richard Graves use the quixotic theme mainly to pit the presumed reality of their contemporary world against the literary fantasies of their protagonists. Fielding, however, emulates the perspectivism of his Spanish predecessor in the creation of his narrator-historian as his mask of reality, achieving a more complex, ironic view of the fictional Kosmos. Sterne, too, borrows many elements from Cervantes. His narrative mask of Tristram demonstrates the interaction between language and experience, as the novel displays its form in the dialogue between novelist and reader. The self-consciousness of Tristram Shandy as a work of narrative art results in a relativistic, ambiguous attitude to remembered experience, and shows many of the qualities that make Don Quixote an example of the art of mannerism. In Tristram Shandy Sterne emphasizes the narrative techniques by which Tristram re-creates the world of the Shandy family. Sterne's Shandean mask of reality fuses the self-conscious display of the art of the novelist with the fictional life of Shandy Hall. / Arts, Faculty of / English, Department of / Graduate

The eighteenth century was a time of intense upheaval in France. The death of Louis XIV in 1715 and the subsequent reign of Louis XV saw the end of French political and martial hegemony on the continent. While French culture and language remained dominant in Europe, Louis XV's disinterested rule and military stagnation led to the disastrous defeat of the French army at the hands of Frederick the Great of Prussia in the Seven Years War (1756-1763). The battle of Rossbach marked the nadir of the French army in the Seven Years War. Frederick's army routed the French infantry that had bumbled its way into massed Prussian cavalry. Following the war, two reformist elements emerged in the army. Reformers within the government, chiefly Etienne François, duc de Choiseul, sought to rectify the army's poor performance and reconstitute France's military establishment. Outside the traditional army structure, military thinkers looked to military theory to reinvigorate the army from within and without. Foremost among the latter was a young officer named Jacques-Antoine-Hippolyte de Guibert, whose 1772 Essai général de tactique quickly became the most celebrated work of theory in European military circles. The Essai provided a new military constitution for France, proposing wholesale reform to create an army that could face the Prussian juggernaut. His star quickly rising, Guibert became the toast not only of literary Paris but all of Europe. Guibert exerted an overwhelming influence on military theory across Europe for the next fifty years. His military theories laid the foundation for the French army of the Revolutionary and Napoleonic eras. As other nations adopted French methods, Guibert's influence spread across the continent, reigning supreme until the 1830s. Guibert's importance to military theory is analogous to Voltaire's influence on European literature and culture, an area in which Guibert was not unfamiliar. Guibert was also a celebrated lover of women, most notably Julie de Lespinasse and possibly a young Germaine de Staël. To date, no work has been produced that provides a clear picture of the man, his place in society, his work, and his legacy. For these reasons, a study of Guibert's life and his career is a valuable contribution to French history.

This study analyzes the impact of eighteenth-century commercialization on the evolution of the English and southern American landed classes with regard to three genteel leadership qualities--education, vocation, and personal characteristics. A simultaneous comparison provides a clearer view of how each adapted, or failed to adapt, to the social and economic change of the period. The analysis demonstrates that the English gentry did not lose a class struggle with the commercial ranks as much as they were overwhelmed by economic changes they could not understand. The southern landed class established an economy based on production of cash crops and thus adapted better to a commercial economy. The work addresses the development of class-consciousness in England and the origins of Virginia's landed class.

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During the Baroque Era (1600-1750) many motets were written for one solo voice, representing a major departure from the polyphonic motet settings which had been produced since before 1250. The study traces the development of the solo motet from it s first appearance in the Centro concerti ecclesiastici of Lodovico Grossi do Viadana in 1602 up to 1750, when the style began to deteriorate along with the Neapolitan opera style.

The problem discusses the influence that tea trade between England and China may have had on eighteenth-century English garden architecture and aesthetics. Five chapters include an historical overview of non-Oriental influences on the garden, the relationship between Britain and China, the evolution of the tea trade, the motifs and decoration of tea wares, and a summary with conclusions. Conclusions reached were that tea was responsible for importation of porcelains in Britain, architectural structures in the garden were inspired by scenes on tea wares, predilection for Chinese motifs in the minds of the English may have resulted from their drinking tea, and it seems probable that affected garden aesthetics but there is no conclusive evidence.