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Thesis (M.A.)--University of Central Florida, 2010. / Adviser: Peter Larson. Includes bibliographical references (p. 95-100).

Early American writer Hugh Henry Brackenridge conceived and developed a code of modern chivalry in his writings that culminated in the long prose satire Modern Chivalry. He first introduced his code in the poem "The Modern Chevalier," in which a modern knight is shown traveling about the country in an attempt to understand and correct the political absurdities of the people. In Modern Chivalry, this code is developed in the three major themes of rationalism, morality, and moderation and the related concern that man recognize his proper place in society. Satire is Brackenridge's weapon as well as the primary aesthetic virtue of his novel. The metaphor of modern chivalry serves to tie the various elements of the rambling book into a unified whole.

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Guerres et paix ont jalonné le duel franco-britannique, une des trames essentielles des relations internationales au XVIIIe siècle. Or c’est ce même siècle des Lumières qui a célébré l’idée d’équilibre européen, d’équilibre des puissances, pour limiter les conflits et « préserver la paix ». Le présent travail se situe pendant la courte période de paix qui sépare deux conflits européens majeurs où s’affrontèrent la Grande-Bretagne et la France, la guerre de Succession d’Autriche (1740-1748) et la guerre de Sept Ans (1756-1763). Il s’agit d’étudier, au milieu du siècle, les pratiques de la paix, utilisées ou révélées à l’occasion des négociations franco-anglaises sur les limites territoriales étendues aux espaces maritimes et coloniaux, et de s’interroger sur les représentations diplomatiques et les visions géostratégiques du monde qui guidèrent, à la cour de Versailles comme à celle de Saint-James, l’action politique des diplomates dans la sphère coloniale. / The Treaty of Aix-la-Chapelle which ended the War of Austrian Succession in 1748 threw into relief the linkage between the europeans and colonial issues. It returned the european claims in North America and in the West Indies to the statu quo ante bellum settled by the Treaty of Utrecht of 1713. A boundary commission was established to study the claims, to determine what areas were considered as belonging to the British or to the French Crowns, and to define clear boundaries separating the colonial dominions. Not solely episode of the Anglo-French rivalry, these inter-war years took place in the middle of the Age of Enlightenment, which celebrated the idea of balance of powers. Despite their failure, these negotiations could be envisaged as attempts to regulate colonial and maritime disputes by international agreements and as experiences by both Courts of a far diplomacy.

Joseph Fiala (1754-1816) was a composer and performer of the classical period. His many compositions include manuscripts of a concerto for clarinet, taille, and orchestra in the Fürstlich Thurn und Taxis Hofbibliothek in Regensburg, West Germany and the Library of Congress in Washington, D.C. , U.S.A. This paper identifies the instrument called "taille" as the English horn and discusses the work in areas of form, harmony, rhythm, orchestration, and use of solo instruments. Comparison with contemporary works shows the piece is typical of the eighteenth-century symphonie concertante and, together with the composer's manuscript, provides a basis for editing of the solo parts.

It is widely accepted that description was used by eighteenth-century writers for the purposes of documentary or ornamentalization. That it was also used to manage the emotions of readers is less often discussed. “Dispassionate Descriptions” corrects this imbalance by attending to the ways in which descriptions in certain scientific and poetic works from the late seventeenth to the late eighteenth centuries were used to dampen the intense emotions that scenes of violence and death tend to inspire, be they sympathy, anger, or love. Writers ranging from William Harvey to James Thomson to John Gabriel Stedman, I argue, taught their readers how to remain dispassionate in the face of suffering and injustice by describing moving bodies and scenes in terms of their physical features alone. By presenting the blood spurting from the wounds of vivisected animals in relation to the regular beat of the heart, a drowning cat in terms of the movements of its head and paws, and the dance of enslaved persons in terms of its irregular beat, the writers I study demonstrated how the disorderly movements of pain or rebellion could be read as expressive of overarching classificatory schemes. Through cultivating dispassion for movements commonly thought to incite passionate responses, these writers worked to maintain the ethical and political status quo. By examining the emotional work descriptions of motion do, “Dispassionate Descriptions” traces an alternative history of how motion from the 1660s to the 1790s was understood outside of the predominant frameworks of mechanism and vitalism. While motion was regarded as inextricable from the literary and scientific discourses of this period, scenes of motion, as I demonstrate, were paradoxically also thought to facilitate emotional retreat. They were thus used by writers to advance a mode of ethics that prized non-interference and the disavowal of moral responsibility.

The dissertation consists of four recitals: repertoire consisting of solo compositions, music for clarinet alone, chamber music, and one lecture recital. The repertoire of these programs was chosen with the intention of demonstrating the capability of the performer to deal with problems arising in works of varying types and of different historical periods. The lecture recital, The D Major Clarinet Concerto by Theodor von Schacht, discusses background for the development of the clarinet in different pitches and gives pertinent bibliographical and historical information on the life and works of Theodor von Schacht. A formal and stylistic analysis is then followed by a short discussion of the problems involved in the transcription and performance of the work: possibly the first solo concerto ever written for the clarinet in A. The lecture concludes with the first performance of The D Major Clarinet Concerto for clarinet in A with orchestral accompaniment reduced for piano.

¿Cómo resuelven los jueces? ¿Por qué eligen una interpretación en vez de otra? ¿Cuál es la razón por la que, al decir de los especialistas, prevalece la interpretación literal? Éstas son preguntas insondables. Para abordarlas, hemos recurrido a la vision unitaria que proporciona la filosofía, aplicándola a casos cualitativamente significativos. Analizamos la decision judicial en tanto opción favorecida en desmedro de otras, a la luz del utilitarismo benthamita. Entonces, emerge la presencia del juez como parte del proceso (en contraposición a la idealizada imagen neutral). Y si la normatividad no considera este fenómeno como elemento de política jurisdiccional, el ciudadano ve afectado su derecho material (aunque se cumplan los principios formales del proceso).