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Submitted by Rômulo Titton Dezen (romulomil@uol.com.br) on 2018-05-04T18:03:39Z No. of bitstreams: 1 Estudo dos dispositivos retoricos em La Promenade Vermet, de Denis Diderot (versão final).pdf: 2806066 bytes, checksum: 0f23235533bff1d0bcbb52aef76d8f7a (MD5) / Approved for entry into archive by Elza Mitiko Sato null (elzasato@ibilce.unesp.br) on 2018-05-04T21:21:15Z (GMT) No. of bitstreams: 1 dezen_rt_me_sjrp_int.pdf: 2806066 bytes, checksum: 0f23235533bff1d0bcbb52aef76d8f7a (MD5) / Made available in DSpace on 2018-05-04T21:21:15Z (GMT). No. of bitstreams: 1 dezen_rt_me_sjrp_int.pdf: 2806066 bytes, checksum: 0f23235533bff1d0bcbb52aef76d8f7a (MD5) Previous issue date: 2018-03-23 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Denis Diderot, auteur d'une oeuvre vaste et pluridimensionnelle, est une personnalité très reconnue et importante aux Sciences Humaines. La Promenade Vernet, partie intégrante du Salon de 1767, reflète bien la complexité de l'oeuvre du philosophe dans son intégralité car on peut observer des traits caractéristiques à plusieurs genres de texte tel que la fiction, l'essai et la critique. Le court texte est une « promenade » dans laquelle Diderot décrit avec maîtrise une série de sept « sites » sous prétexte de mettre en cause diverses sujets de nature philosophique et esthétique. Ce que le lecteur n'a pas d'accès — et arrive à apprendre seulement à la fin — est au fait que les descriptions des éléments des paysages ne font pas référence à sept campagnes, mais à sept tableaux d'un célèbre paysagiste français, Joseph Vernet. Pendant la « Promenade », Diderot et l'abbé, son interlocuteur et personnage fictif, débattent, dramatiquement, en longues journées, les convictions quant à l'art, à la position de l'homme dans le monde et aux moeurs. Cette recherche vise mettre en évidence les dispositifs rhétoriques utilisés par l'auteur, spécialement l'ekphrasis et le hiéroglyphe, tous les deux associés, directe ou indirectement, au rapport entre le verbal et l'imagerie (ut pictura poesis). Pour le développement de la recherche, des auteurs des époques variés sont utilisés, tel que Horace (18 a.C.), qui a inventé le terme ut pictura poesis ; Lessing (1768), qui a été fondamental au développement de la rhétorique ; et Lichtenstein (1994), dont l'oeuvre trace un parcours approfondi de l'histoire de la rhétorique visuelle et sur laquelle ce mémoire se base avec un certain accent. Dans le texte de Diderot, on remarque une importance significative de références classiques, ainsi, des articles qui éclairent-ils l'oeuvre de Diderot par ce point de vue ont été choisis pour constituer la recherche. À part cet apparat théorique, il est fait appel à textes composant l'oeuvre de Diderot qui ne font pas partie du Salon de 1767, ainsi que la Lettre sur les sourds et muets à l’usage de ceux qui entendent et qui parlent, dans laquelle on trouve l'expression « hiéroglyphe » pour la première fois. En plus des textes du critique philosophe, on se sert d'une riche fortune critique et essentiellement française qui s'applique à l'étude de l'oeuvre de Diderot, y compris Bukdahl (1980), Chouillet (1987), Starobinski (1991) et Delon (1995). Dans ce travail il est aussi possible de trouver une certaine exploration de l'esthétique et de la peinture, compte tenu de la nature plurielle du texte qui a été objet d'étude. Après cette recherche, on peut avoir une compréhension plus importante des rapports établis entre le visuel et l'écrit. Finalement, et par conséquence, l'examen de cet auteur et de son texte met en lumière ce qui a été les Salons, genre littéraire créé au XVIIIème siècle, qui, malgré sa courte duration (n'a survécu que pendant un siècle), a provoqué des importants dédoublements vers l'art et la littérature modernes. / Denis Diderot, autor de uma obra vasta e multifacetada, é tido como uma personalidade muito importante para as ciências humanas. La Promenade Vernet, trecho integrante do Salão de 1767, reflete bem a complexidade da obra do filósofo como um todo, pois é nele em que se observam traços de diferentes gêneros como ficção, ensaio e crítica. Esse curto texto é um “passeio” em que Diderot descreve com maestria uma série de sete “sítios”, com o pretexto de discutir diversas questões de natureza filosófica e estética. O que o leitor não sabe — e só vem a saber no final — é que as descrições dos elementos das paisagens não fazem referência a sete campanhas, mas sim a sete quadros de um famoso paisagista francês, Joseph Vernet. No “Passeio”, Diderot e o Abade, seu interlocutor e personagem fictício, discutem, dialogicamente, em longas jornadas, sobre suas convicções quanto à arte, ao lugar do homem no mundo e a questões morais. Esta pesquisa visa colocar em foco os dispositivos retóricos utilizados pelo autor, especialmente a ekphrasis e o hieróglifo, ambos associados, direta ou indiretamente, à relação entre o verbal e o imagético (ut pictura poesis). Para o desenvolvimento da pesquisa, são utilizados autores de variadas épocas, como Horácio (18 a.C.), que cunhou o termo ut pictura poesis; Lessing (1768), que foi determinante para o desenvolvimento da retórica; e Lichtenstein (1994), cuja obra traça um percurso aprofundado da história da retórica pictórica e na qual esta dissertação se apoia com certo destaque. No texto de Diderot, nota-se significativa importância de referências clássicas, portanto, alguns artigos que esclarecem a obra de Diderot por esse olhar também foram elencados para a constituição da pesquisa. Além desse aparato teórico, recorre-se a alguns textos da obra de Diderot que não são especificamente o Salão de 1767, como a Carta para os surdos-mudos ao uso daqueles que ouvem e falam, no qual o termo “hieróglifo” aparece pela primeira vez. Junto a textos do crítico-filósofo, faz-se uso de uma fortuna crítica rica e predominantemente francesa que se aplica ao estudo da obra diderotiana, entre eles Bukdahl (1980), Chouillet (1987), Starobinski (1991) e Delon (1995). Neste trabalho também é possível encontrar algum aprofundamento sobre estética e sobre a pintura, dada a natureza plural do texto que foi objeto de estudo. Há, a partir desta pesquisa, uma maior compreensão das relações estabelecidas entre o visual e o escrito. Finalmente, e por consequência, o exame desse autor e de seu texto traz à luz um pouco do que foram os Salões, gênero literário criado no século XVIII que, embora tenha sido de curta duração (sobreviveu por cerca de um século, apenas), teve desdobramentos importantes para a arte e a literatura modernas. / Denis Diderot, the author of a vast and multidimensional work, is a renowned personality to the Human Sciences. Promenade Vernet, an integral part of the 1767 Salon, reflects the complexity of the work of the philosopher in its entirety as we can observe some traces of genres such as fiction, essay, and criticism. The short text is a "walk" in which Diderot masterfully describes a series of seven "sites" under the pretext of questioning various subjects of a philosophical and aesthetic nature. What the reader does not have access to - and only learns at the end - is that descriptions of landscape elements do not refer to seven campaigns, but to seven paintings by the famous French landscape artist, Joseph Vernet. During the "Walk", Diderot and the abbé, his interlocutor and fictitious character, discuss dramatically, in long journeys, the beliefs about art, the position of man in the world and morality. This research aims to highlight the rhetorical devices used by the author, especially ekphrasis and hieroglyph, both associated, directly or indirectly, with the relationship between verbal and imagery (ut pictura poesis). For the development of the research, authors from different periods are used, such as Horace (18 b.C.), who coined the term ut pictura poesis; Lessing (1768), which was fundamental to the development of rhetoric; and Lichtenstein (1994), whose work traces an in-depth journey into the history of rhetoric of figures and on which this memoir is based with a certain accent. In Diderot's text, we note a significant importance of classical texts in other that articles that enlighten this perspective in Diderot’s work were chosen to constitute the research. Apart from this theoretical apparatus, it is appealed to texts composing the work of Diderot which are not part of the 1767 Salon, as well as the Letter on the Deaf and Dumb, for the Use of those who hear and speak, in which we find the expression "hieroglyph" for the first time. In addition to the texts of the critic philosopher, we use a rich critical and essentially French fortune that applies to the study of the work of Diderot, including Bukdahl (1980), Chouillet (1987), Starobinski (1991) and Delon (1995). In this work is also possible to find some exploration of aesthetics and painting, given the plural nature of the text that has been object of study. After this research, one can have a further understanding of the relationships between the visual and the written. Finally, and therefore, the examination of this author and his text highlights what the Salons was, a literary genre created in the eighteenth century, which has caused significant duplication towards modern art and literature despite its one-century duration.

Constance de Salm (1767-1845) is an unknown French woman author who nevertheless enjoyed much success in her time. The French Revolution of 1789 and the disappointments that it brought in regards to woman's rights incited her to also use her writings to forward women's cause. / In this work, we will first introduce this "illustrious unknown writer" through a biography relating the important periods of her life while also drawing a parallel with the literature she wrote during her career. We will then go over those "feminist" writings in order to focus on the major themes.

Orientador : Rui Guilherme Granziera / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Economia / Made available in DSpace on 2018-07-27T21:41:15Z (GMT). No. of bitstreams: 1 Celia_MariaIsabelBasilisco_M.pdf: 6224216 bytes, checksum: 0d8b8cc1b25a5f8b63d17be2eb1621d4 (MD5) Previous issue date: 2000 / Mestrado / Historia Economica

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According to Humboldt, language is a typical cultural activity which involves the act of creation (Erzeugung). It is also an important activity which reveals the nature of man. In the first part of this research, we try to sum up Humboldt's analysis on creation into four main theses: (1) the true definition of language must be based on speaking, rather than dead products such as words and rules. As a result, the definition of language can only be a genetic one and must be related to a certain idea of "activity;" (2) speaking is an act through which the speaker expresses his thought by using different sounds. In other words, man uses speech sounds as tools of expression. Thus, language is an act of producing tools rather than the tools produced; (3) only articulated sounds are capable of expressing thoughts. If we want to use them to express our ideas, we must compel our vocal organs and produce sounds with patiicular sound-forms. In Humboldt's words, this involves a process of Bildung in which we combine matter and form to produce tools with particular forms. (4) To express a certain thought, we have to put words together. These grammatically formed words, all as elements, enter into the sentence and form a new unity. A closer look at this operation shows that words acquire their grammatical functions through a special mental act: the mind creates a sentence to express the thought, but by the same act opposes itself to the created. From this point of view, language is a synthesis which brings elements together to create novelties. / At the very first glance, Humboldt's philosophy of language is just a series of tedious, laborious examination of linguistic facts. In addition, the idealistic terminologies he employed set up a barrier for those who want to understand his theory. Through our investigations, we show that his philosophy of language can be seen as the foundation of a full-fledged philosophy of culture with the analysis on creation providing all the building blocks. Humboldt reminds us of the freedom of the individual, and stresses on the importance of the self-consciousness of any human activity. As an educational reform is currently undergoing in Hong Kong, the philosophy of Humboldt can act as a timely reminder for all of us. / In the second part of this research, we follow the example of Humboldt and start a series of investigations to show how Cantonese-speaking community uses different sound-forms to form words and sentences. Our investigations will focus on the activity of the listener. We try to prove that there is a change of role of the listener whenever he understands a certain chain of words. A listener always plays a double-role. He must speak in order to understand. The active role of the listener is evidence that Humboldt's analysis on creation can be applied to all aspects of language and is still meaningful to us despite its idealistic traits. / 趙子明. / Adviser: Tze Wan Kwan. / Source: Dissertation Abstracts International, Volume: 73-03, Section: A, page: . / Thesis (Ph.D.)--Chinese University of Hong Kong, 2010. / Includes bibliographical references (p. 178-186). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [201-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Zhao Ziming.

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George Philipp Telemann is often thought of an experimenter with many nationalistic styles during the course of his career. His Corellian Sonatas demonstrate this facet of his work in their employment of Corelli's manner, and the cultivation of the Italian style. Telemann's Corellian sonatas are stylistically close to those of Corelli, and they do not appear to vary widely from the church and chamber sonatas of Corelli; Telemann fused the two sonata types in that dance elements are found in the church sonatas and the abstract elements of the church sonatas are inserted into the chamber sonatas. In addition to the amalgamation of internal elements, Telemann also experimented with the external features, such as the alternation of tempo and the four movement stereotype.

The thesis primarily examines the 1797 trial of David McLane in Quebec City for spying, the steps taken by the British authorities to ensure a conviction, and McLane's activities in 1796 and 1797 in Vermont and Lower Canada on behalf of the French Minister to the United States, Pierre Adet. McLane did not receive a fair trial because the colonial administration in Lower Canada so thoroughly manipulated the legal system that a guilty verdict was assured. But, ironically, McLane was a guilty man, having been hired by Adet to find sympathizers who would help instigate a rebellion in the colony; he was also employed to gather military intelligence and to help the French seize Lower Canada. The paper also looks at the attempts of the French between 1793 and 1797 to stir up unrest in the colony and their intentions to spark a rebellion and/or to invade Lower Canada. Furthermore, the work discusses the fear that the colony's English community felt due to their perception of the French threat and to their belief that the local Francophone population might rise en masse in an insurrection. Finally, the thesis examines the steps that the English took in response to those fears. The transcript of the McLane trial was found at the Willamette University College of Law Library and the pre-trial depositions of the prosecution's witnesses were located in the collection of the Oregon Historical Society. Many of the research materials were obtained from the libraries of Portland State University, Lewis and Clark College, Willamette University, Oregon State University, the University of Oregon, the University of New Brunswick, and the University of Western Ontario or were obtained through the interlibrary loan offices at Portland State University and the Salem Public Library. Materials were also obtained directly from Canadian historian F. Murray Greenwood, the editorial office of the Dictionary of Canadian Biography, the National Archives of Canada, the City Archives of Providence, Rhode Island, and Dr. Claire Weidemier McKarns of Encinitas, California. Most of the early Lower Canadian statutes and other information concerning Lower Canadian and British legal history were found at the Oregon Supreme Court Library. Also, most of the biographical information concerning McLane's early years and his family was found at the Genealogical Section of the Oregon State Library and through the family history centers at the Corvallis (Oregon) and the South Salem {Oregon) Stakes of the Church of Jesus Christ of Latter-Day Saints.