The ideal of honesty proposed by civility treaties results from the social and political reorganization orchestrated by Louis XIV's desire to assert his authority and impose a court ritual. Court treaties, like Antoine de Courtin's Le Nouveau traite de la civilite qui se pratique en France parmi les honnetes gens (1671), pass on an ideal of social behaviour in which the appearances are meticulously planned. Based on the principle that the physical appearance is a reflection of the inner self, the body is of great importance in honesty. Propriety books codify gestures and indicate the best attitude, outfit, posture and gait to single out an "honnete homme" from the mass. In order to respect the social standards, he moulds himself an exterior image and, in doing so, he establishes a difference between the public character and the private man. The representation of the body necessarily affects the creation of the "honnete homme"'s personality, which presents many traits of a modern identity.

Doctor of Philosophy / The main issue to be articulated in this thesis is the proposition that Leibniz’s mature philosophy is best, or preferably, presented as a double-aspect ontology. All the arguments to be furnished herein support this case; however, their intrinsic weight and extent far exceeds that of the principal contention, so that the whole of Leibniz’s natural philosophy and metaphysics will be seen to be involved and to undergo some measure of re-orientation away from more traditional interpretive concerns. Part I follows Leibniz in his emendation of Aristotelian-Scholastic notions as a result of his need for a “higher, metaphysical principle” to remedy the defects of the ‘modern’ account of motion. From this flowed his new conception of substance. The fundamental premise of Leibniz’s metaphysics is that spirit and body lie in series. The cosmos presents itself as aspects of an unbroken continuum. Ineluctably our conclusions as to the ‘whole’ is therefore an intellectual reconstruction of the perspectives delivered to us by these aspects. This emerges most clearly from the phenomenotaxis which has been collated in this part of the thesis – apparently the first such exercise in the scholarly literature. All this involves a separation of domains which require appropriate levels of description to explain their autonomous features. A double-aspect theory seems indispensable to account for the one world to which these levels nonetheless refer. In Part II we engage with Leibniz’s conception of substance as a unit of force. From this protean idea (aka monad) the whole material and spiritual cosmos is derived. The basis of this theory is that to act is to be. Accordingly we arrive at an ontology of agency. The nature of a monad is to exert Daseinstreben, the equivalent of individuation. Included in its definition is an absolute freedom to act. God’s “concession” of existence therefore refers to the autonomous collectivisation of monads into universes eligible for actualisation. Accordingly Leibniz arrives at a theory of a self-constructing universe. Post-Arnauld, Leibniz discarded the complete concept, having realised that contingency breaks open the system of determinism. Accordingly Leibniz replaced the ‘sum of predicates’ doctrine with the law of the series. In this conception monads collect the asymmetrical and irreversible information relevant to their internal states; for it transpires that freely executed choices guarantee avoidance of indiscernibles. The section therefore presents a schema of the ten main issues entangled in the conception of agency as well as an analytical chart of the structure of monads. In Part III, the “Labyrinth of the Continuum” resolves the perspectives on the world. Leibniz declares his colours unambiguously – realism concerns the world of facts, idealism the realm of foun-dations. The Principle of Continuity covers a vast range of indeterminate parts which serve as the foundations of real parts. We investigate some case studies, e.g. petites perceptions and especially the Pacidius, in which the conception of an agent-in-motion is studied in depth to reveal Leibniz’s extraordinary conclusions on change. We also consider Shapes, Limits and Boundaries which are relevant to the theory of the self-constructing universe (infolding and unfolding order); and finally his models of self-similarity and scale invariance. PART IV is concerned with grounding existents from the principle of sufficient reason. The virtue claimed here for the double-aspect theory is the possibility of penetrating into the thought of an exceptionally complex thinker through more than one portal. It yields a greater variety of facets, an inner coherence and a much richer texture of thought than the traditional insistence on just one primary aspect reveals.

This thesis identifies in the Relations des Jésuites de la Nouvelle-France (Relations), written between 1632 and 1650, a comprehensive rhetoric of total selfoffering to Jesus Christ, a rhetoric of martyrdom, rooted in their authors' particular experience of the Christian tradition, their praying with the Spiritual Exercises (1548) of Ignatius Loyola (1491-1556), their encounters with the spirituality of the French Jesuit Louis Lallemant (1578-1635), and their exposure to various forms of Jesuit mission literature from around the world. Published annually, these Relations were the only consistent account of the unfolding French colonial project in Nouvelle- France, and a popular read among the noblesse, ecclesiastics, and pious Christians of the kingdom. Today they form an essential collection of primary sources that continue to provide a doorway into the earliest days of Canada's history. Identifying this rhetoric throughout the narratives, this study endeavours to provide a deeper historical understanding of these Relations by contextualising their content within the particular all-encompassing religious worldview of the authors who wrote them. The religious imaginations of these Jesuit authors, Paul Le Jeune (1591-1664), Jean de Brébeuf (1593-1649), Françoise-Joseph Le Mercier (1604-90), Barthélemy Vimont (1594-1667), Jérôme Lalemant (1593-1673), Isaac Jogues (1607-1673) and Paul Ragueneau (1608-1680), thus gives birth to a rhetoric in the Relations that presents Nouvelle-France as a land filled with Amerindian peoples who would only truly embrace Christianity if all of the missionaries lovingly offer their lives to Jesus Christ; just as He had done for the salvation of the entire world from sin and evil. They do so by placing their efforts on a metaphysical plane. There, the missionaries are presented as having been invited by God to join Christ crucified on a mission into a land filled with suffering and death. Where the Amerindians they evangelise must choose between a barbarous life of selfish material interest that is thought to imbue their traditions and a more human life of self-offering modelled on the Christian God. At the same time Satan, the devil, labours hard not to lose his grip on a part of the world that was as yet unaware of its true divine origins. The 'divine', the 'missionary', 'Satan', and the 'Amerindians', locked in this cosmic battle for souls that can only be won through a self-sacrificing union with Jesus Christ, combine to form the rhetoric of martyrdom in the narratives that reaches its summit as the authors describe the murders of eight of their fallen comrades, tortured and killed by some of the very people they had come to evangelise. This rhetoric, present throughout the narratives, has yet to be acknowledged, analysed, and interpreted by historians. In doing so, it is hoped that this study will deepen any reading of the Relations, advancing our understanding of their full import for both the early modern and the present-day reader.

The dissertation consists of four recitals. Three solo recitals featured a variety of selected works for bass trombone and piano by traditional and contemporary composers. The lecture recital, entitled "The Trombone in German and Austrian Ensemble Sonatas of the Late Seventeenth Century," is a study which examines the role of the trombone, both as a solo and ensemble instrument, and the functions of the instrument in ensemble sonatas of the late seventeenth century. The trombone's use in instrumental ensembles was traced from the fifteenth century to the present. The program included selections by German composers Daniel Speer and Matthias Weckmann, and Austrian composers Autonio Bertali, Johann Heinrich Schmelzer and Heinrich Ignaz Franz Biber.

O império português, formado por conquistas espalhadas pelas mais diversas regiões do globo terrestre, teve o pluralismo administrativo, a promoção de ajustes e a capacidade inventiva como soluções de governabilidade e importantes sustentáculos da dominação. Estendendo-se por terras além-mares, dependeu de mecanismos de mando capazes de conviver com os poderes locais e com as dificuldades impostas pela distância e por diferentes conjunturas. O período entre a Restauração de Portugal, em 1640, e a Abertura dos Portos do Brasil para as nações estrangeiras, em 1808, caracterizou-se por longo movimento de planos e práticas para promover e melhorar a exploração econômica lusitana no ultramar. O trabalho ora apresentado tem o Atlântico como espaço destacado e visa estudar as ações propostas e efetivadas pela Coroa portuguesa para manter, reordenar e ampliar o seu império, consolidadas na lógica de um sistema mercantil imperial; composto pelo centro e pelas distintas partes à volta dele, visando garantir o comércio ultramarino e os subsequentes ganhos da e na metrópole, e cuja gestão teve como principal característica a adaptabilidade. / The Portuguese Empire, formed by conquests spread over most regions of the globe, had the administrative pluralism, promotion of adjustments and inventiveness as solutions to governance and important pivot of domination. Extending for lands beyond the seas, it depended on mechanisms of command able to deal with local authorities and with the difficulties imposed by distance and different conjunctures. The period between Portugals Restoration in 1640, and the opening of Brazilian Ports to foreign friendly nations, in 1808, was characterized by intense planning movement and practices to promote and improve the economic Lusitanian exploitation overseas. This work has the Atlantic as main scenario and aims to study the actions proposed and effected by the Portuguese Crown to maintain, rearrange and expand the Empire, consolidated in the logic of an imperial mercantile system, composed of the center and the many different parts around it, aiming to ensure the overseas trade and subsequent gains for the metropolis and also inside it, and whose management had as main characteristic adaptability.

Da mein Thema jene Epoche bespricht, in der die Landesgrenze noch anderswo lag, ist es unumgänglich, auch diejenigen Regionen zu erwähnen, welche heute zu anderen Ländern gehören. Die Oper hat ihre Wurzeln u.a. in den Singspielen, welche schon im 16. und 17. Jahrhundert gepflegt und als Schuldramen bekannt wurden.

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La mythologie a fourni un point de départ riche en possibilités a l'écrivain dans tous les domaines littéraires et à toutes les epoques. Des dramaturges successifs ont repris et remodele les mythes qui ont été mis en scene par les anciens. Nous avons choisi, en vue de montrer l'adaptabilité et l'attrait universel du mythe, les trois grandes le-gendes d'Amphitryon, d’Oedipe et d'Antigone dans le traite-ment qui leur a été accorde à trois époques tres différentes, prenant comme base celui de l'antiquité, ensuite celui du dix-septieme siecle et finalement celui du vingtieme siecle. L'Amphitryon de Plaute a trouve echo dans celui de Moliére et l'Amphitryon 58 de Giraudoux. Sophocle avec son Oedipe montra le chemin à Corneille et à Gride pour leurs adaptations de la mime llgende. Quant à la legende d'Antigone Buripide mit en scéne le conflit des freres dans Les Pheniciennes, piece qui servit de modele à La Thébaide de Racine et c'est à Sophocle qu'Anouilh fut redevable de l'inspiration de son Antigone. Le mythe semble correspondre k un besoin profond et fondamental chez l'ecrivain. Celui-ci se trouve, comme tout homme, attiré, peut-ltre malgre lui, vers la mythologie qui, d'apres Preud et ses disciples, est une transposition des impulsions psychiques, refouilées mais présentes chez tous les etres. En outre le mythe lui offre des ressources dra-matiques pratiques en ce qu'il fournit un théme tout fait qu'il peut adapter selon ses goftts. Ainsi nous avons vu que dans le mythe d'Amphitryon Moliére vit la possibilité de développer le theme du dydoublement et d'en exploiter l'élement comique, tandisque Giraudoux s'interessa davantage a la confrontation de l'humanite et du cosmos en se vouant a la fantaisie verbale qui trouve naturellement sa place dans une telle situation. Gorneille adapta la légende d'Oedipe de faconna y inserer le theme de l'amour, tout en gar-dant 1'element legendaire de la liberty humaine mise en question par la volonte divine; aspect que Gide, humaniste a fond tourna a son avantage pour/une victoire totale a l'homme. Ce fut la présence d'une grande passion motrice qui attira Racine vers la lutte fratricide. Anouilh, par contre, opta pour Antigone, personnage ideal pour symboliser ses id!es sur le régne de l'enfance. Le dramaturge peut trouver dans le mythe une camouflage pour la representation d'un conflit d'attitudes qui lui per-met d'aborder des problémes délicats sous des exterieurs neutres. Le mythe fournit egalement une''fag.on de dormer une forme a la realite contemporaine. Mais, ambigu, le mythe apporte au dramaturge a la fois ordre et liberte puisque, tout en exercant sur l'ecrivain une certaine contrainte, il lui laisse la possibility d'eVasion dans l'adaptation. Le caractere lygendaire du mythe n'exclut pas ce qui est contem-porain a l'ecrivain qui peut, a l'aide d'anachronismes, donner a son oeuvre des aspects actuels. Le mythe, ainsi deguise nous montre des problemes qui rongent 1'auteur et, par extension, son époque. Le mythe est une sorte de défi en ce qu'il est à la fois rigide et flexible. En outre dans la mesure ou il est négation de tout ce qui est réaliste le mythe crée d'emblee entre le héros et le public une certaine distance que l'auteur est libre de diminuer ou d'augmenter selon ses buts. De cette distance ressort une impression d'élévation et d'universalité. Nous avons vu dans le mythe un moyen sur d'atteindre le plus grand public et de realiser l'unite de tous les spectateurs. En presentant au public une vieille histoire l'auteur cree et joue sur une complicity qui sert de terrain fertile pour semer de nouvelles idees; ou plutot de nouvelles facons d'envisager les mimes problemes éternels. L'écrivain, soueieux de decouvrir la clef du mystére de la creation et de 1'existence se tourne vers le mythe qui evoque les regions lointaines et nebuleuses des debuts de l'homme. L'une des principales préoccupations de l'écrivain de tous les siécles n'a-t-elle pas été, n'est-elle pas toujours de s'interroger sur le sens de la vie? II a trouvé dans la mythologie une fagon symbolique d'atteindre ce but. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

The purpose of this paper is to analyze advice about marriage written in England during the sixteenth and seventeenth centuries. The first chapter focuses on marital counsel contained in letters, the second on advice offered by Protestant clergymen, and the third on various kinds of popular literature which discussed marriage and women. The contents of the works are described, as is the historical and literary context in which they were written. Although the form, purpose, and significance of the marital counsel varies, the advice itself is remarkably consistent. The central concern of the authors is how a man can select a good wife and how the woman should comport herself after marriage; only the works written by clerics describe the husband's marital responsibilities to any significant extent. The implication is that a successful marriage would result if the man chose his wife wisely and if, once chosen, the woman conformed to his and society's expectations. However, advice tells us only what people were saying, not what they were doing; it is prescriptive, not descriptive. Moreover, when examining works which dealt with wedlock, one becomes aware of the essentially literary nature of much of the counsel—many authors simply repeated or expanded on clichés. Their words do not provide us with insight into their own thoughts or matrimonial relations, but inform us as to the accepted, conventional mode of discussing marriage during this period. / Arts, Faculty of / History, Department of / Graduate