This interdisciplinary thesis examines rare poetic, didactic, fictional, and musical texts written by women in latter eighteenth-century Britain for instances of and resistance to contemporary perceptions of music as a form of social control. The opening chapter defines and historicizes the term "social harmony," by discussing neoclassical views of musical affect as productive of beneficial social behaviours and gender definition. By delineating canonical aesthetic theorists' influence upon women writers and musicians and assessing music's place in women's moral education, this chapter complicates the idea of separate public and private spheres of cultural achievement and introduces expanded views of women's agency as composers and performers. Next, the thesis appraises women's engagement with charity, musically enacted, through formal musical and textual analysis of hymns, songs, and benefit performances and publications. It marks the productive intersection of patronage and charity for women, who could articulate divergent responses to such idealized or stereotyped objects of pity as prostitutes and madwomen and benefit materially from so doing. The third chapter considers women composers and writers' employment of imitative and associative aesthetic practices in nature's musical representation, including neoclassical and realist pastorals, the picturesque, and the sublime. It traces development of a hybrid aesthetic of natural representation that enables performative and compositional separation of femininity from nature in forms including the novel, song, and pastoral drama. The final chapter identifies contemporary anxieties concerning the depiction of political, moral and gender-role stability within an increasingly international musical discourse. It analyzes women's musical conceptions of cultural difference and national identity in ballad operas and pastiches in light of these conflicts. By crafting works consonant with societal ideals of charitable, natural, and national order-or by re-imagining their participation in these musical aids to social harmony-women composers, lyricists and performers contributed significantly to the formation of British cultural identity. / Thesis / Doctor of Philosophy (PhD)

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

The purpose 9f this thesis is to examine the Jacobite effort to secure support for an enterprise to restore the Stuart line in Britain and the effect which this had on relations between France and England from 1730 to 1740. Following a general account of the diplomatic pattern during this decade and the state of the Jacobite movement in 1730, the thesis examines in detail the Jacobite endeavor to win support at three critical junctures: first, the period from the Second Treaty of Vienna (1731) to the outbreak of the War of the Polish Succession (1733); second, the period of settlement after the Polish War, from 1735 to 1737; third, the time of crisis which ended with the outbreak of war between Spain and England in 1740. Although the Jacobites received a show of encouragement from the French government throughout these ten years, Cardinal Fleury constantly evaded fulfilling the promises of help he gave them, alleging as excuse circumstances the Jacobites themselves could not contest: the weakness of the party in Britain and the lack of co-operation between France and Spain despite their common causes of enmity against England. Fleury consistently avoided any policy which would involve France in a general European war; and this, in fact, precluded giving active help to the Jacobites; but he encouraged them to continue their efforts because they supplied him with useful information, because they were considered as a potential threat by the Hanoverian government in England whose fears of a renewed Jacobite enterprise increased with the increasing hostility between Britain and the Bourbon powers, and because supporting the Jacobite cause could strengthen Fleury's own position within the administrative power-structure of the French Court. By 1730 the lack of effective political support in Britain for the Jacobite Cause made it unlikely that an enterprise could have been successful; but, so long as the Hanoverians feared a potential change and so long as the Jacobites themselves hoped and worked for success, they remained a significant factor in the diplomatic history of Europe. / Thesis / Doctor of Philosophy (PhD)

In its analysis of the whole corpus of tragedy in Britain from 1695 to 1740 this thesis divides into sections dealing with a survey of research already undertaken in the field; an analysis of the recurring patterns in the plays throughout the period; a study of the settings for tragedy and a discussion of the plays with Ancient (Greek and Roman), European, Middle Tu.stern and British (ancient, historical and modern) settings; a study of the adaptations made during the period; and analyses of the tragedies of Nicholas Rowe and George Lillo, the two best and most significant writers of tragedy. The attempt by George Lillo and one or two writers before and after him to invigorate the dying form of tragedy is seen to fail, and by 1740 it is clear that the best writers of tragedy are interested in verse rather than in stage entertainment. Tragedy overcomes the influence of vivid visual attractions of the opera of 1700 only to become bogged down in the undramatic verse of 1740. Writers of tragedy in 1740 try to be much simpler than writers in 1695, and tragedy of action at the turn of the century turns into tragedy of discussion and contemplation, the herald of the closet drama of the nineteenth century. / Thesis / Doctor of Philosophy (PhD)

No description available.

Orientador : Bento Prado Junior / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-07-18T13:03:12Z (GMT). No. of bitstreams: 1 Souza_RuthMariaPinae_M.pdf: 3045746 bytes, checksum: 0f131d92dcb2463ac9f97a18eef92698 (MD5) Previous issue date: 1993 / Resumo: Não informado / Abstract: Not informed. / Mestrado / Mestre em Filosofia

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Note:

No description available.

Giovanni Paisiello's Barber of Seville, although no longer an opera that is frequently performed, was very popular in the eighteenth and early nineteenth centuries. Based on a play by Pierre-Augustin Caron de Beaumarchais, Le barbier de Seville (1775), was translated into many different languages, and performed by companies all over Europe and America. Paisiello's work was so successful that Mozart, inspired by the idea, wrote a sequel in 1786, The Marriage of Figaro in collaboration with Da Ponte. When Rossini presented his own version of Barber of Seville in Rome in 1816, the public hissed with indignation and outrage to demonstrate a predilection for Paisiello. Giovanni Paisiello (1740 - 1816) was a Neapolitan composer who worked at St. Petersburg, Russia from 1776 - 1784 in the court of Catherine II where he was appointed Kapelmeister of Italian opera. The composer chose the French play by Beaumarchais as his point of departure, having it adjusted and rewritten in Italian verse in order to please his patroness. Due to the restrictions set upon the duration of the spectacle and the subject matter, the comedy was shortened and its socio-political critique eliminated. Thus Le barbier de Seville, which the Empress essentially considered democratizing and harmful to the absolute monarchy, was transformed into an opera buffa, Il barbiere di Siviglia, that involved harmless clowning. Il barbiere is significant because its creation demonstrates how Italian opera buffa became a vehicle to distract the public from considering the issues that were in the air prior to the French Revolution. This thesis examines the many contradictory factors involved in allowing this sort of entertainment at the Imperial Court. The study explores Catherine the Great and her character, as well as her clever ability to maintain a successful image as an Enlightened Despot. The differences and similarities between the French play and the Italian libretto are surveyed in order to demonstrate the simplifications that had to be made. A discussion treating the shift of focus that resulted by moving attention away from Figaro toward Dr. Bartholo, will indicate how the play was transformed into a libretto which proved to be emasculated and irregular. The music and how the composer dealt with the text will be discussed. Paisiello's buffo characterization of the old miserly doctor will be considered through use of musical examples. Additionally, the composer's setting of ensembles will be examined given their particular prominence in this work. The use of unifying elements will also be surveyed. The ideas of the era of Enlightenment affected both the bourgeoisie and the aristocracy. However, each group interpreted education and rationalism in its own way. While the members of the middle class attempted to change the structure of society (ancien regime), the authorities needed to maintain it. Through Italian opera buffa, however, both seemed to find the middle ground for compromise. It was acceptable because it was musical theatre that was made to appear harmless.