Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

Using a wealth of secondary and primary sources; such as town records, diaries, tax valuations, and genealogical data, this project will attempt to shed light on the reaction of Dedham, Massachusetts, and its middle class, to military service during the American Revolution. Although extremely responsive during the opening months of the war, Dedham's middle class became reluctant to contribute its fathers and sons to the military cause when the war moved outside of their periphery, and for good reason, they needed them back home. This study determined that the lack of zeal on the part of the town's middle class was part and parcel of historical, economical, and political factors that combined to keep the fathers and sons of Dedham from serving in the war. Although declining to serve in the Continental Army, Dedham was able to continue its support for the war effort by hiring others to do the fighting for them. / Department of History

Although Robert Schumann’s late style has been the subject of several probing studies in recent years, few scholars have concentrated their attention on the chamber works composed in the autumn of 1851. Perhaps most intriguing are the opp. 105 and 121 violin sonatas, whose first movements suggest a dialogue with the eighteenth-century sonata form by preserving many of the same rhetorical and structural elements. Throughout both movements, however, Schumann uses an intricate web of tonal ambiguities, metrical dissonances, and unusual key relationships to recast the internal workings of these outwardly conventional sonata forms. As he uses these techniques to undermine important structural moments of each movement, Schumann significantly changes the overall plot of the eighteenth-century sonata form, while also demonstrating his sensitivity to the dramatic possibilities of this historical form in the middle of the nineteenth century. By discussing Schumann’s dialogue with the eighteenth-century sonata form throughout the opp. 105 and 121 violin sonatas, this study attempts to situate these works within both their historical and contemporary musical contexts, and thus considers a previously unexplored avenue toward rehabilitating the reception of Schumann’s late chamber works. / School of Music

Recent histories of cultural encounters in colonial America emphasize how interactions between native Americans and Europeans altered both cultures. In order to facilitate such an investigation, scholars employ ethno history-a multidisciplinary approach that uses methods and sources from anthropology, archeology, and history. While it remains the dominant methodology for studying cultural encounters, others are critical of such studies pointing to the dangers of using European sources in order to understand native American culture. Some literary scholars argue that the only information that historians can gain from European texts and images are representations of the indigenous population. Using cultural encounters between English missionaries and Wampanoag Indians on Martha's Vineyard between 1642 and 1727 as my case study, I combine these seemingly incompatible methodologies to analyze relations in three cultural arenas: religion, gender, and literacy. I argue that through their resistance to English power, the Indians were able to continually adjust to life in their ever-changing new world. Even though their culture changed dramatically during this period, there were also able to resist full acculturation by maintaining a distinct Wampanoag identity. / Department of History

En se basant sur l’histoire des Bradfords, l’une des plus grandes familles d’imprimeurs de l’histoire américaine, ce mémoire étudie la relation entre l’imprimé, les imprimeurs, et divers discours sur la liberté au cours du « long » 18e siècle. Il retrace la transition entre une ère de la « liberté de parole, » née des débats sur la liberté de presse et d’expression de la période coloniale, et une ère de la « parole de la liberté, » née au cours de la Révolution et entretenue sous la jeune république. Cette transition fut le produit de la transformation du discours des contemporains sur la liberté, mais s’effectua également en lien avec la transformation du milieu de l’imprimerie et de la culture de l’imprimé. Selon les circonstances politiques, sociales, économiques et culturelles particulières des périodes coloniale, révolutionnaire, et républicaine, l’imprimé et les imprimeurs américains furent appelés à disséminer et à contribuer au discours sur la liberté. Ils établirent ainsi une forte association entre l’imprimé et la liberté dans la culture de l’imprimé du 18e siècle, qui était destinée à être transmise aux siècles suivants. Mots- / Based on the family history of the Bradfords, one of America’s most celebrated printing dynasties, this thesis studies the interplay between print, printers, and various discourses on freedom during of the long 18th century and through the colonial, revolutionary, and early republican periods. It traces the transition between an era of the “speech of freedom,” born out of the colonial debates on the freedom of speech and press, and an era of the “freedom of speech,” born in the course of the Revolution and upheld during the early republic. This transition resulted from the transformation of the contemporaries’ discourse on liberty, but also had to do with the transformation of the printing trade and print culture. As a result of the political, social, economic, and cultural circumstances of the colonial, revolutionary, and early republican periods, American print and printers were led to disseminate and to contribute to the discourse on liberty. They thus established a strong association between print and freedom in the 18th-century print culture, an association which was destined to be transmitted to the following centuries.

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The 1760's and 1770's saw the emergence of numerous clubs, orders and societies in Stockholm. One of the most extraordinary expressions of this phenomenon was Carl Michael Bellman's Bacchi Orden, a series of semi-public dramatic entertainments chronicling the exploits of the members of Bacchi Orden, a fictional society enrolling several of Stockholm's most notorious drunkards and dedicated to the celebration of Bacchus. Bellman's parodic perspective stands in marked contrast to the self-professed virtuous undertakings of Stockholm's contemporary clubs and orders, whose members were recruited from the social and economic elites and professional and artisanal classes. The main purpose of the dissertation was to study the ceremonial rhetorical practices of Bacchi Orden - speeches, processions and other features designed to enhance the members' loyalty to the society's chosen ideal - and compare them to similar rhetorical traits in several orders and societies of the era in Stockholm to understand what made Bellman's parody work as an entertainment. The dissertation consists of three chapters. The first chapter introduces Bacchi Orden as a parodic and dramatic work and the eighteenth-century associations as cultural and social institutions. The second chapter outlines the use of ceremonial rhetoric in a number of orders and societies in Stockholm contemporary with Bacchi Orden. Through a combined chronological and thematic approach, the third chapter examines recurring rhetorical patterns in Bellman's parody and the rhetorical implications these patterns might have signaled to his audicence. The ceremonial rhetorical practices of Bacchi Orden may be interpreted as parodying rhetorical commonplaces occuring in all the examined orders' pledges to uphold certain virtues for the benefit of the Swedish nation. This system of virtues - with moderation, patriotism and diligence as cornerstones - is put to parodic use in Bacchi Orden through the different breaches of decorum Bellman allows his characters to act out in their doomed endeavors to combine ceremonial protocol and severe intoxication. As a contrast, friendly and frank companionship among the selected few is the one positive virtue that Bellman's audience can infer from his mock-society. This particular tenet became central to subsequent social clubs, which used Bellman's fiction as a template for their ceremonies.

This thesis examines the depiction of the feral child through the literary study of 18th and 19th century French texts. This body of research isn’t meant to establish historical facts, or to construct a global history of childhood, but rather it’s a work on the representation of humanity, on the issues surrounding the conceptualizations of childhood and animality that emerged parallel to changes in theological and philosophical ideas or mentalities. Reflecting upon the cases of Marie-Angélique le Blanc, Victor de l’Aveyron, and Kaspar Hauser, and supporting narratives as well as on related anthologies of edifying anecdotes of wise, virtuous, obedient children, this study shows patterns of imagery and themes that confirm that the ways of viewing the child in literature and society is linked to path of thought regarding questions of humanity; stories filled with spiritual connotations fade as faith in science moves to the forefront of inquiry. / Graduate