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Zugl.: Frankfurt (Main), Universiẗat, Diss., 2008.

Thesis (Ph. D.)--Cambridge University, 1980. / Includes bibliographical references (p. 364-390 (2nd group)).

Made available in DSpace on 2014-06-11T19:24:52Z (GMT). No. of bitstreams: 0 Previous issue date: 2014-02-25Bitstream added on 2014-06-13T19:52:43Z : No. of bitstreams: 1 000755405.pdf: 721229 bytes, checksum: a665c9ee190d3a2675b924dd4bb2c525 (MD5) / As origens da Teoria dos Invariantes na Inglaterra e o Mécanique Analytique de Lagrange (1788), é um trabalho voltado principalmente a entender uma possível influência que levou George Boole em 1841, a escrever o artigo Exposition of a General Theory of Linear Transformations e verificar se a motivação que o fez produzir este trabalho é igual ou diferente da motivação que ele exerceu sobre Arthur Cayley e consequentemente sobre James Joseph Sylvester. O presente trabalho apresenta um estudo das origens da Teoria dos Invariantes, no século XIX na Inglaterra. De acordo com os historiadores da Matemática o marco do início desta Teoria foi a publicação de George Boole em 1841. Assumimos este artigo como referência principal para realizar nossa pesquisa. Analisamos “antes” e “após” esta publicação de 1841. Concluímos que o Mécanique Analytique de Lagrange, foi a principal motivação para George Boole escrever seu trabalho e, certamente, George Boole foi uma grande influência para Arthur Cayley no que condiz com a escolha do assunto “invariantes” bem como o desenvolvimento desta Teoria por Cayley / The origins of the theory of invariants in England and Mécanique Analytique of Lagrange (1788), is a work geared primarily to understand a possible influence that led George Boole in 1841, writing the article Exposition of the General Theory of Linear Transformations and verify that the motivation that did produce this work is equal or different of the motivation that he exerted on Arthur Cayley and James Joseph Sylvester consequently. This paper presents a study of the Invariant Theory origins, in the nineteenth century in England. According to historians of Mathematics the beginning of this Theory was the publication in 1841 of George Boole. We have taken this article as a reference to our research. We have proposed to analyzed before and after this publication, 1841. We conclude that the Mécanique Analytique Lagrange, was the essential motivation for George Boole write his work, and certainly George Boole was a great influence to Arthur Cayley in which matches the choice of subject invariants as well as the development of this Theory by Cayley

Orientador: Orna Messer Levin / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-21T18:05:56Z (GMT). No. of bitstreams: 1 Rondinelli_BrunaGrasieladaSilva_M.pdf: 4061341 bytes, checksum: 7fa4a5a2e47935b288f76ae146b6cee3 (MD5) Previous issue date: 2012 / Resumo: Este estudo reconstitui as condições em que foram representadas as peças de Martins Pena (1815-1848) no Teatro de São Pedro de Alcântara, entre os anos de 1838 e 1855, a partir de informações recolhidas nos anúncios de espetáculos, crônicas teatrais e cartas de espectadores publicadas pela imprensa fluminense oitocentista. A contextualização dos espetáculos - levantamento de dados acerca da mise en scène, do repertório, dos programas e artistas atuantes - iluminou assuntos e propôs respostas possíveis a questionamentos sobre a produção dramática de Martins Pena, tais como as motivações para a composição de suas comédias e as condições em que estas foram recebidas pela crítica e público. Martins Pena escreveu um total de 22 peças cômicas; destas, 18 estrearam entre outubro de 1838 e dezembro de 1846 no São Pedro de Alcântara, em sua grande maioria nos programas de espetáculos beneficentes em favor de atores, dentre os quais Estela Sezefreda (1810-1874), esposa de João Caetano (1808-1863), e os portugueses Manoel Soares (?-1859) e Ludovina Soares (1802-1868). O Judas em Sábado de Aleluia, Os Irmãos das Almas e O Noviço foram as suas comédias mais encenadas durante as décadas de 1840 e 1850. Essas peças, tecidas por recursos farsescos, dialogam com a estética do melodrama francês, adaptam discussões trazidas pelos periódicos do Rio de Janeiro e satirizam as ordens religiosas, a polícia, as leis civis e criminais do Império. A reconstrução do contexto de criação das obras de Martins Pena nos permite concluir que o comediógrafo foi influente na constituição dos benefícios teatrais oferecidos pelos artistas do São Pedro de Alcântara, espectador dos programas desse teatro, leitor e censor de seu repertório, e um autor que, além da busca de divertimento, tinha uma mensagem social para transmitir à platéia / Abstract: This study reconstitute the conditions in which Martins Pena (1815-1848) plays were represented at the São Pedro de Alcântara Theater, during the years 1838 to 1855, using information gathered from spectacles' announcements, theatrical chronicles and letters from spectators published in the fluminense press of the eighteenth century. The contextualization of the exhibitions - data acquisition about the mise en scène, the repertory, the programs and the acting artists - illuminated issues and proposed possible answers to questions about the Martins Pena's dramatic production, such as the motivations to compose his comedies and how was the public and critic reception. Martins Pena wrote 22 comic plays; 18 of these were first time staged between October of 1838 and December of 1846 at the São Pedro de Alcântara Theater, mostly during the programs of the spectacles in benefit of actors, as Estela Sezefreda (1810-1874), wife of João Caetano (1808-1863) and the portuguese Manoel Soares (?-1859) and Ludovina Soares (1802- 1868). O Judas em Sábado de Aleluia, Os Irmãos das Almas and O Noviço were his most staged comedies during the decades of 1840 and 1850. These plays, woven with farcical means, dialogue with the french melodramas' esthetic, adapt discussions present in the Rio de Janeiro daily journals and satirize the religious orders, the police, the civil and criminal laws of the Empire. The reconstruction of the Martins Pena's creation context allowed us to conclude that the comediograph had influence on the organization of theatrical programs in benefit of actors at São Pedro de Alcântara Theater, were spectator of these programs, reader and censor of their repertory, and an author who searched not only to give entertainment to the audience, but also to transmit a social message / Mestrado / Historia e Historiografia Literaria / Mestra em Teoria e História Literária

In 1793, Great Britain embarked on a war against Revolutionary France to reestablish a balance of power in Europe. Traditional assessments among historians consider British war planning at the ministerial level during the First Coalition to be incompetent and haphazard. This work reassesses decision making of the leading strategists in the British Cabinet in the development of a theater in the Mediterranean by examining political, diplomatic, and military influences. William Pitt the Younger and his controlling ministers pursued a conservative strategy in the Mediterranean, reliant on Allies in the region to contain French armies and ideas inside the Alps and the Pyrenees. Dependent on British naval power, the Cabinet sought to weaken the French war effort by targeting trade in the region. Throughout the first half of 1793, the British government remained fixed on this conservative, traditional approach to France. However, with the fall of Toulon in August of 1793, decisions made by Admiral Samuel Hood in command of forces in the Mediterranean radicalized British policy towards the Revolution while undermining the construct of the Coalition. The inconsistencies in strategic thought political decisions created stagnation, wasting the opportunities gained by the Counter-revolutionary movements in southern France. As a result, reinvigorated French forces defeated Allied forces in detail in the fall of 1793.

La guerre américano-mexicaine (1846-1848) est un événement qui marque profondément l'histoire des États-Unis et celle du Mexique. Dès la fin des hostilités, des historiens des deux États multiplient les ouvrages qui s'y rapportent. Bien que les différentes phases de la guerre soient étudiées, les causes du conflit engendrent les interprétations les plus contradictoires. L'objectif de ce mémoire, qui porte sur la période 1848-1940, est de traiter de révolution des principales interprétations des historiens américains et mexicains à propos des origines de la guerre de 1846. Plus particulièrement, nous tenterons, pour chacun des pays, de caractériser les interprétations en suivant l'ordre chronologique de leur parution, de comparer et d'expliquer leurs différences et leurs similitudes à la lumières des facteurs personnels et socio-politiques ayant pu influencer les auteurs. / Québec Université Laval, Bibliothèque 2013

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This study is a cultural and political analysis of the emergence and deterioration of the relationship between George Washington and Thomas Paine. It is informed by modern studies in Atlantic history and culture. It presents the falling out of the two Founding Fathers as a reflection of two competing political cultures, as well as a function of the class aspirations of Washington and Paine. It chronologically examines the two men's interaction with one another from the early days of the American Revolution to the Reign of Terror of the French Revolution. Along the way this study highlights the dynamics that characterized the Washington-Paine relationship and shows how the two men worked together to further their own agendas. This study also points to Thomas Paine's involvement with a web of Democratic Societies in America and to Washington's increasing wariness and suspicion of these Societies as agents of insurrection.

After conquering Belgium and the Rhineland in 1794, the French Army of the Sambre and Meuse faced severe logistical, disciplinary, and morale problems that signaled the erosion of its capabilities. The army’s degeneration resulted from a revolution in French foreign policy designed to conquer the natural frontiers, a policy often falsely portrayed as a diplomatic tradition of the French monarchy. In fact, the natural frontiers policy – expansion to the Rhine, the Pyrenees, and the Alps – emerged only after the start of the War of the First Coalition in 1792. Moreover, the pursuit of natural frontiers caused more controversy than previously understood. No less a figure than Lazare Carnot – the Organizer of Victory – viewed French expansion to the Rhine as impractical and likely to perpetuate war. While the war of conquest provided the French state with the resources to survive, it entailed numerous unforeseen consequences. Most notably, the Revolutionary armies became isolated from the nation and displayed more loyalty to their commanders than to the civilian authorities. In 1797, the Sambre and Meuse Army became a political tool of General Lazare Hoche, who sought control over the Rhineland by supporting the creation of a Cisrhenan Republic. Ultimately, troops from Hoche’s army removed Carnot from the French Directory in the coup d’état of 18 fructidor, a crucial benchmark in the militarization of French politics two years before Napoleon Bonaparte’s seizure of power. Accordingly, the conquest of the Rhine frontier contributed to the erosion of democratic governance in Revolutionary France.