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Les multiples voyages que réalise Potocki tout au long de sa vie lui permettent de faire l'expérience d'un monde relatif, dont la compréhension appelle, au-delà de la raison, d'autres moyens de connaissance. La variété des normes, des croyances et des valeurs qu'il enregistre témoigne d'une infinie diversité des hommes. Parallèlement à ses récits de voyage, l'auteur revendique pourtant, dans ses écrits historiques, politiques, et dans ses aphorismes, un universel humain, appréhendé à l'aune de la liberté. La thèse met en lumière comment l'auteur tente de faire coïncider cet absolu, posé de manière théorique, avec un très grand relativisme normatif, perçu de manière empirique, et dont il entend rendre compte par une éthique de voyageur, à laquelle il n'est pas toujours fidèle. Précisément l'analyse de cet écart, entre sa manière d'appréhender l'Autre et la démarche qu'il s'était imposée, est riche de sens et dessine des éléments de réponse qui déplacent la question sur l'articulation entre diversité et unité humaines. Celle-ci ne se fait pas sans heurts à l'échelle des Œuvres, mais elle trouve sa pleine expression dans la synthèse proposée par le Manuscrit trouvé à Saragosse. Ce constat amène à réfléchir aux possibilités heuristiques offertes par la fiction. Potocki se sert du roman comme d'un laboratoire pour soumettre l'homme à l'expérience de la philosophie du « comme si », et pour mettre à l'épreuve sa nature ontologique. Cette enquête, extrêmement féconde pour comprendre comment l'universel humain favorise paradoxalement la plus grande diversité des peuples et la singularité des individus, soulève néanmoins le problème du relativisme cognitif. L'être et le monde n'existent-ils, pour Potocki, qu'à travers un discours, une représentation ? / Built on a life-long series of travels, Jan Potocki's experience of a relative world calls, beyond the notion of reason, for the unveiling of new paths to knowledge. The wide variety of norms, beliefs and values he has recorded demonstrate the endless diversity of men. Yet, alongside his travel memoirs, the author has also depicted, in his historical, political works, as well as in his aphorisms, a universal humankind in its rapport to freedom. This thesis highlights the writer's attempt to match his search for the Absolute, as defined in theoretical terms, with a compelling normative relativism in its empirical perception. Thus Potocki sought to outline the ethos of the wanderer - without necessarily being true to it himself. The discrepancy between the way he related to his fellow men and the approach he had initially devised for himself is precisely where the analysis becomes meaningful, suggesting in its findings that the contention might in fact revolve around the junctures between the diversity of men and their notional oneness. While research may prove strewn with obstacles in Œuvres, it is most significant and highly relevant in the synoptic Manuscript Found in Saragossa, leading us to reflect upon the heuristic potential of fiction writing. Potocki uses the novel as a laboratory in which he subjects man to the philosophical experiment of the ‘as if', and puts his ontological nature to the test. However fruitful the investigation might be when it comes to understanding the paradox of how universality in men breeds growing diversity and individuality, it also raises the issue of cognitive relativism. Do humankind and the world only exist, according to Potocki, through verbal and mental representations ?

OF PROPER CONDUCT: PRIVATE TUTORS IN STOCKHOLM AND ITS ENVIRONS 1793–1795 This paper studies private tutors in Stockholm and its environs 1793-1795 by examining work advertisements written by said tutors. It is in part a continuation of a previous study of the education market in Stockholm 1798. It utilizes Yvonne Hirdman ’s gender theory and Pierre Bourdieu’s concepts of symbolic capital to analyze differences in what male and female tutors offered to teach, how they portrayed themselves and if any social groups could be ascertained. Both qualitative and quantitative methods are used, where the quantitative method is partly influenced by the verb oriented-method from the Gender and Work (GaW) project and the qualitative method is influenced by hermeneutics. The study shows that most of the tutors were men, and of those men a majority were students, priests, educated men and officials. The female tutors did not use titles overall, but the subjects they offered to teach suggests most were in the mid- to upper mid layer of society. The French salon culture was dominating among the nobles at the end of the 18th century. This study argues that the salon culture was the cultural capital by which the tutors measured themselves. Because of their academic merits, men tended to use institutionalized cultural capital while women used only partly embodied cultural capital through their knowledge of the French language. Where men tended to use formal merits, women used a wider array of strategies. There were however a number of men who used strategies of weakness when faced with financial difficulties. Women taught mainly needlework and French, where female tutors offering to teach how to sew of clothes showed a shift from male professional tailors to female seamstresses. It is argued that Hirdman’s principle of segregation between men and women both affected the subjects the tutors were able to offer as well as the subjects they did offer.

This document provides a brief history of Vauxhall Gardens and an overview of its musical achievements under the proprietorship of Jonathan Tyers and his sons during the 1745-1784 period when Thomas Arne (1710-1778) and James Hook (1746-1827) served as music directors. Vauxhall Gardens provided an extraordinary environment for the development and nurturing of solo songs in the eighteenth century. Here the native British composers' talents were encouraged and displayed to capacity audiences of patrons who often came from privileged ranks of society. The largely anonymous poems of the songs were based on classical, pastoral, patriotic, Caledonian, drinking or hunting themes. The songs ranged from simple, folk-like ballads in binary structures to phenomenally virtuosic pieces which often included several sections. During the early years of vocal performances at Vauxhall (c. 1745-1760), the emphasis was on delivery of texts, sung to easily remembered melodies with little ornamentation and few florid passages. However, the coloratura style of Italian opera was assimilated and anglicized by Thomas Arne, his contemporaries, and later by James Hook. In the 1770's and 1780's, composers continued to refine all the forms and styles that had been popular since the 1740's; this developmental process was mainly technical. Vauxhall songs were composed with orchestral accompaniment and incorporated the techniques of the Mannheim school. All the melodic, rhythmic, harmonic and orchestral devices of the era were available to the British composers, and they borrowed freely from each other and from the continental masters. While certain forms evolved more clearly in the 1770's and 1780's, such as the rondo, major changes were not observed in the poetry. Vocal music at Vauxhall Gardens occupies a position in history as a steppingstone toward mass culture. Vauxhall ballads were printed in annual collections and single sheets by a vigorous publishing industry. When the Industrial Revolution caused the middle class to splinter into further groupings toward the end of the eighteenth century, the new lower middle class shunned the artistic pleasures of the upper classes and developed its own entertainments, which resulted in a permanent separation of popular and classical musical cultures, as well as the decline of Vauxhall Gardens / Arts, Faculty of / Music, School of / Accompanied by cassette in Special Collections / Graduate

This dissertation examines ways in which women constructed and criticized matrimony both before and after their own marriages. Social historians have argued for the rise of companionacy in the eighteenth century without paying attention to women's accounts of the fears and uncertainties surrounding the prospect of marriage. I argue that having more latitude to choose a husband did not diminish the enormous impact that the choice would have on the rest of a woman's life; if anything, choice might increase that impact. Lady Mary Wortley Montagu, Hester Mulso Chapone, Mary Delany, and Eliza Haywood recorded their anxieties about and their criticisms of marriage in public and private writings from the early years of the century into the 1750s. They often elide their own complex backgrounds in favor of generalized policy statements on what constitutes a good marriage. These women promote an ideal of marriage based on respect and similarity of character, suggesting that friendship is more honest, and durable than romantic love. This definition of ideal marriage enables these women to argue for more egalitarian marital relationships without overtly calling for a change in the wife's traditional role. The advancement of this ideal of companionacy gave women a means of promoting gender equality in marriage at a time when they considered marriage risky but socially and economically necessary.

This study examines the interaction between religious and national affiliations within a Dissenting denomination. Linda Colley and Jonathan Clark argue that religion provided the unifying foundation of national identity. Colley portrays a Protestant British identity defined in opposition to Catholic France. Clark favors an English identity, based upon an Anglican intellectual hegemony, against which only the heterodox could effectively offer criticism. Studying the Baptists helps test those two approaches. Although Methodists and Baptists shared evangelical concerns, the Methodists remained within the Church of England. Though Baptists often held political views similar to the Unitarians, they retained their orthodoxy. Thus, the Baptists present an opportunity to explore the position of orthodox Dissenters within the nation. The Baptists separated their religious and national identities. An individual could be both a Christian and a Briton, but one attachment did not imply the other. If the two conflicted, religion took precedent. An examination of individual ministers, specifically William Winterbotham, Robert Hall, Mark Wilks, Joseph Kinghorn, and David Kinghorn, reveals a range of Baptist views from harsh criticism of to support for the government. It also shows Baptist disagreement on whether faith should encourage political involvement and on the value of the French Revolution. Baptists did not rely on religion as the source of their political opinions. They tended to embrace a concept of natural rights, and their national identity stemmed largely from the English constitutional heritage. Within that context, Baptists desired full citizenship in the nation. They called for the repeal of the Test and Corporation Acts and the reform of Parliament. Because of their criticism of church and state, Baptists demonstrate the diversity within British Protestantism. For the most part, religion did not contribute to their national identity. In fact, it helped distinguish them from other Britons. Baptist evangelicalism reinforced that separate identity, as the nation did not outweigh spiritual concerns. The church and state establishment perceived the Baptists as a threat to social order, but Baptists advocated reform, not revolution. They remained both faithful Baptists and loyal Britons.

The primary objective of this thesis is to identify patterns of appearance among the flora and fauna of selected eighteenth-century New Spanish casta paintings. The objectives of the thesis are to determine what types of flora and fauna are present within selected casta paintings, whether the flora and fauna's provenance is Spanish or Mexican and whether there are any potential associations of particular flora and fauna with the races being depicted in the same composition. I focus my flora and fauna research on three sets of casta paintings produced between 1750 and 1800: Miguel Cabrera's 1763 series, José Joaquín Magón's 1770 casta paintings, and Andrés de Islas' 1774 sequence. Although the paintings fall into the same genre and within a period of a little over a decade, they nevertheless offer different visions of New Spain's natural bounty and include objects designed to satisfy Europe's interest in the exotic.

Orientador: Roberto Romano / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-07T19:51:06Z (GMT). No. of bitstreams: 1 Kawana_KarenKazue_D.pdf: 1216219 bytes, checksum: e7fe9dfd1c01a1717310a9885e224856 (MD5) Previous issue date: 2006 / Resumo: O objetivo deste trabalho é procurar mostrar como há uma mudança na maneira como a idéia de natureza no século XVIII é concebida pelos pensadores. Poderíamos considerar o século como um período de transição entre duas épocas do pensamento europeu no qual observamos a substituição de uma concepção de mundo herdada da tradição clássica e do racionalismo por idéias que mais tarde darão origem ao romantismo. A natureza clássica é inteligível, ela forma uma totalidade harmônica e ordenada que poderíamos alcançar por meio da razão, ela englobaria todos os nossos conceitos, inclusive os morais, eles teriam, assim, uma existência própria e seria por meio de nossa razão que os compreenderíamos e poderíamos colocar em prática em nosso cotidiano. O que vemos, ao longo do século em questão, é um descrédito dessa visão de mundo (ou natureza, pois ambas as palavras são intercambiáveis) em favor de uma concepção de mundo voltada para os fenômenos, para aquilo que podemos apreender por meio de nossos sentidos, sensações e sentimentos. Em suma, estes últimos começam a ganhar a posição de destaque antes ocupada pela razão / Abstract: The aim of this work is to point how the philosophers considered nature in the Eighteenth Century. In that period we observe the substitution of a world view inherited from the Classical and Rationalist traditions for those ideas which will give birth to the Romanticism in the Nineteenth century. For the Classicists nature is apprehended by reason, it constitutes an harmonic and organized unit which is reached by our intellectual faculties, it would enclose all our concepts, even the moral ones, and our reason would be the faculty by means of which we could understand those concepts and put them to practical use in our everyday life. What we see during the Eighteenth century is an undervaluation of the Classicism in favor of a world view focused on the phenomenal world, on those things which we can apprehend through our senses, sensations and feelings / Doutorado / Historia da Filosofia / Doutor em Filosofia

The grant of the diwani to the East India Company in August 1765 represents a climacteric moment in British imperial histories. Vested by the Mughal Emperor Shah Allam II, this newfound right to collect revenue saddled the Company with the broader and formal economic, judicial and military responsibilities of a territorial empire. Wherefore, in the era of post-Mughal political splintering, the EIC, as an emerging subcontinental state had to contend with internal revolts abetted by ethno-religious and socio-economic crises, but also because of threats posed by the Kingdom of Mysore and the Maratha Confederacy. Nevertheless, in the midst of the American Revolution, the EIC’s contentious and contested conduct of imperial governance in India became an ideological, philosophical and pragmatic point of domestic and imperial contention. Thus, confronted with the simultaneous internal and external implications of the crises of Empire between 1765 and 1788, the role of the Company’s fiscal-military administration and exercise of violence within the spheres British imperial governance was reconceptualised and in doing so contemporaries underwrote the emergence of what historians have subsequently called the ‘Second British Empire’ in India. Alternatively, the reconceptualisation of the EIC’s fiscal-military administration served to ensure the continuity and preservation of the British imperial nexus as it was imposed upon Bengal. This work, therefore, traces the Company’s fiscal-military administration and dispensation of violence during the ‘crises of empire’ as a point of genesis in the development and reformation of British imperial governance. Moreover, it will show that the interdependent nature of the Company’s ‘fiscal-military hybridity’ ultimately came to underwrite further the ideological, philosophical and pragmatic consolidation of imperial governance in ‘British India’. Accordingly, this dissertation examines the interdependent role between Parliament’s reconceptualisation of the East India Company’s fiscal-military administration of violence and the changing nature of British imperial governance in ‘British India’.

Several late eighteenth-century keyboard composers indicated that some of their works were written specifically for the clavichord, as opposed to the harpsichord or pianoforte. This demand was indicated by a composer's commentary, remarks made by a contemporary, or by Bebung and Tragen der Tone indications in the music. The thesis examines selected works of C.P.E. Bach, Johann Eckard, Nathanael Gruner, Johann Hassler, Christian Neefe, F.S. Sander, and Daniel Tt*rk, and discusses elements of the music that seem particularly suited to clavichord performance. These elements are Bebung, Tragen der TOne, finely nuanced dynamic indications, certain types of melodic writing, and a thin textural composition.