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This study explores the moral characteristics of late eighteenth-century Scottish culture in order to ascertain both its specific nature and its contribution to modern consciousness. It argues that, while the language of moral discourse in that socio-economic environment remained in large part traditional, containing aspects from both neo-Stoicism and classical humanism, it also incorporated and helped to develop an explicitly modern conceptual network. The language of sensibility as discussed by Adam Smith and adapted by practical Scottish moralists, played a key role in the Scottish assessment of appropriate ethical behaviour In a complex society. The contribution of enlightened Scottish moralists to the language and literature of sensibility has been virtually overlooked, with a corresponding impoverishment of our understanding of some of the most important eighteenth-century social and cultural developments. Both literary scholars and social historians have made the mistake of equating eighteenth century sensibility with the growth of individualism and romanticism. The Scottish contribution to sensibility cannot be appreciated in such terms, but needs to be examined in relation to the stress that its practitioners placed upon man's social nature and the integrity of the moral community. Scottish moralists believed that their traditional ethical community was threatened by the increased selfishness, disparateness, and mobility of an imperial and commercial British society. They turned to the cultivation of the moral sentiments as a primary mechanism for moral preservation and regeneration in a cold and indifferent modern world. What is more their discussion of this cultivation related in significant ways to the development of new perspectives on adolescence, private and domestic life, the concept of the feminine and the literary form of the novel. Scottish moralists made a contribution to sentimental discourse which has been almost completely overlooked. Henry Mackenzie, Hugh Blair and James Fordyce were among the most popular authors of the century and their discussion of the family, the community, education, the young and the conjugal relationship was not only influential per se but also reflected a particularly Scottish moral discourse which stressed the concept of sociability and evidenced concern about the survival of the moral community in a modern society. To the extent that literary scholars and historians have ignored or misread their works, they have obscured rather than enlightened eighteenth-century culture and its relationship with the social base. / Arts, Faculty of / History, Department of / Graduate

European Enlightenment culture was a fundamental locus for the emergence and conceptualization of what has come to be called the "modern public sphere." In this study I analyse the figure of "the public" during roughly the third quarter of the eighteenth-century, primarily as refracted in the writings of three prominent German Aufklarer, Gotthold Ephraim Lessing, Thomas Abbt, and Johann Gottfried Herder. Scholarly discussion about the emergence of a German public sphere and "public opinion" has tended to focus on the latter decades of the eighteenth- century, with little awareness of the fact that earlier on, the notion of a "public" itself was being constituted and contested by "public writers" like Lessing, Abbt and Herder. This occurred within the context of what I am calling "the problem of Publikum," the particular German problem of social and political fragmentation. The writings of Lessing, Abbt arid Herder can be profitably understood as mediating between the wider European Republic of Letters and a more circumscribed, problematical German Publikum. By reading their works in light of Enlightenment discourses of science, sociability, aesthetics and politics-discourses that in one way or another touched upon the issue of a modern "public"--as well as in view of the "problem of Publikum" and the German social and intellectual scene generally, I am able to connect their intellectual content both with wider European currents and local German socio-political concerns. I argue that Lessing's dramatic and literary-critical work sought to constitute a German public that was both sympathetically responsive yet critically distanced from itself. Abbt, painfully aware of the "problem of Publikum," strove to inscribe a public sphere in the idiom of patriotism and morals. And Herder's intervention in an emerging German public sphere can be understood as building on the work of Abbt and Lessing to theorize the relationship between language, literature and the Publikum in a complex vision of "organic enlightenment." The dissertation employs a variety of primary and secondary sources, including works by an array of European thinkers who played a role in Lessing, Abbt and Herder's intellectual development. And it theorizes the developments profiled in light of contemporary theories of the public sphere and the social-psychology of George H. Mead, engaging questions of personal and social identity, inclusion/exclusion, and gender. / Arts, Faculty of / History, Department of / Graduate

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This dissertation examines how the comic grotesque is used to address the subject of war in selected prose. The Introduction reviews the essential ludicrous-fearful duality of the grotesque. "Comic Grotesque" refers to examples which emphasize the ludicrous. An organic link exists between the nature of war and the grotesque form. Part One deals with Renaissance selections. The first is the slaughter of the rebels in Sidney's Arcadia, which parodies epic-battle motifs. The princes dispatch the rebels in a series of gruesome and humorous portraits. Nashe's The Unfortunate Traveller contains two grotesque battles. Jack wants to join the stronger side at the Marignano blood bath but soon flies off to the Munster uprising. Jack's grotesque similes and Rabelaisian vitality characterize him as a picaresque hero. Burton's tirade against war in The Anatomy of Melanchols exposes all the absurdities of war but with comic exaggeration. The tirade is part of the greater dilemma of not knowing whether to laugh with Democritus or cry with Heraclitus. To understand Burton's paradoxical view of war, the tirade must be seen within the context of the entire Anatomy. Part Two looks at eighteenth-century selections. The pettiness and horror of war are recurrent themes in Gulliver's Travels. Swift is particularly interested in the unreason of war engines and the perverse delight which men take in the spectacle of battle. Smollett's Roderick Random documents the military experiences of another picaresque hero who sees action in the War of Jenkins's Ear and the battle of Dettingen. Like Jack Wilton, Roderick only enlists in the army to support himself. Perhaps the most memorable comic grotesque statement on war comes in Sterne's Tristram Shandy. The bowling green diversion may be harmless play, but it is also tied to Marlborough's actual campaigns. Paradoxically, uncle Toby's war wound is an emblem of love. / Thesis / Doctor of Philosophy (PhD)

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