There is no abstract available for this thesis.

A theatrical portrait is an image of an actor or actors in character. This genre was widespread in eighteenth century London and was practised by a large number of painters and engravers of all levels of ability. The sources of the genre lay in a number of diverse styles of art, including the court portraits of Lely and Kneller and the fetes galantes of Watteau and Mercier. Three types of media for theatrical portraits were particularly prevalent in London, between c.1745 and 1800 : painting, print and book illustration. All three offered some form of publicity to the actor, and allowed patrons and buyers to recollect a memorable - performance of a play. Several factors governed the artist's choice of actor, character and play. Popular or unusual productions of plays were nearly always accompanied by some form of actor portrait, although there are eighteenth century portraits which do not appear to reflect any particular performance at all. Details of costume in these works usually reflected fashions of the contemporary stage, although some artists occasionally invented costumes to suit their own ends. Gesture and expression of the actors in theatrical portraits also tended to follow stage convention, and some definite parallels between gestures of actors in theatrical portraits and contemporary descriptions of those actors can be made. Theatrical portraiture on the eighteenth century model continued into the nineteenth century, but its form changed with the changing styles of acting. However the art continued to be largely commercial and ephemeral, and in its very ephemerality lies its importance as a part of the social history of the eighteenth century.

The thesis is two-fold. First, that Nietzsche's early writings owe more to Schiller than he subsequently wished to admit. This is demonstrated by evidence from Die Geburt der Tragödie and the Nachlass notes of the same period. Second, that there are tangible parallels of content and intent between Schiller's Ästhetische Briefe and Nietzsche's Die Geburt der Tragödie. The thesis is not an 'influence study', although the issue is addressed. By examining his hitherto neglected attitude to Schiller, this study sheds light on Nietzsche's tactics when dealing with men and their ideas in his writings. This, however, is not the main point of the thesis, which is to analyse the connections between the two texts. The essential point of comparison is that Die Geburt der Tragödie and the Ästhetische Briefe both set out aesthetic prescriptions for a diseased culture. Certain kinds of art are deemed capable, by virtue of their timeless and incorruptible properties, of reforming the human psyche, and by extension of promoting cultural integrity and vitality. After analysing Nietzsche's attitude to Schiller, particularly in connection with the argument of Die Geburt der Tragödie, the thesis compares the strategies adopted in the two texts: both present triadic schemes of historical development, in which the Greek experience is regarded as crucial; their aesthetic 'reform programmes' are predicated on psycho-metaphysical pictures of human nature; and both texts reject attempts to cure human ills by political means. The thesis is an attempt to articulate, compare, and criticise the respective projects and to see in what sense(s) they were untimely. Both projects were untimely, in the sense that they were deliberately out of step with their times. In each case, the alleged remedial properties of art themselves are characterised as untimely. They are borrowed from another time, or are said to be out of time altogether. The thesis concludes that the two texts, although outstanding contributions to aesthetic theory, were inappropriate (untimely) attempts to tackle larger problems.

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 English, 1976

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This document explores some music of the Baroque era. Specifically, it is concerned with eighteenth century musical articulation, ornamentation, and the type of flute in use at that time, which we now call the baroque flute. The term articulation refers to the entire subject of how a note is begun, the type of articulation syllable used, and how notes are grouped together. In the Baroque period melodies were embellished with certain standard ornaments. The proper performance of these ornaments was the subject of much discussion and writing. At the end of this document the reader will find a selected bibliography which includes some of these writings. There are many types of ornaments. This study will be concerned with some of them: the trill, mordent, appoggiatura, grupetto, messa di voce, and flattement. Vibrato at that time was considered to be an ornament, and will be included as such.

This thesis explores pictorialism in eighteenth-century poetry and landscape. The tradition of ut pictura poesis is presented in terms of its origins in antiquity, its background in the thought of the eighteenth century, its manifestations in the poetry of the period, and its relations to the picturesque in landscape. A sketch of the origins and development of literary pictorialism in Greece and Rome, the medieval, Renaissance, and post-Renaissance periods, outlines its leading features and furnishes a historical perspective against which eighteenth-century practices can be viewed. Special attention is given to the bond between the sister arts of painting and poetry and to the new standards of artistic excellence deriving from Italian Renaissance and baroque painting. In eighteenth-century poetry, passages from Pope and Thomson illustrate neo-classical pictorial practice with respect to the ancient doctrine of enargeia (vivid, lifelike imitation), the means of idealizing nature, and the iconic tradition of imitating or describing objects of art. These practices are shown to serve aesthetic, social, or moral purposes. Finally, the thesis discusses Thomson's pictorial poetry as the product of traditional ut pictura poesis and not as the cause of picturesque landscape vision. The relationship between literary pictorialism and the landscape picturesque is clarified by relating Thomson's characteristic landscape form to Claude Lorraine, Salvator Rosa, and Nicolas Poussin. And the landscape picturesque itself, discussed largely in terms of its origins in the English natural garden and its formalization in the aesthetic theories of William Gilpin and Uvedale Price, is shown, like poetic pictorialism, to be a product of the neo-classical doctrine of models, another form of neo-classical "imitation." As such it rounds out the paper's study of pictorialism in the eighteenth century. / Arts, Faculty of / English, Department of / Graduate