This study is an investigation of the relationships between music and the poetry of Wordsworth, Coleridge, Byron, Shelley, and Keats. Particularly it focuses on the nature of their musical subject matter and musical imagery in order to determine the extent to which they were influenced by aesthetic and philosophical musical theory, generally termed speculative music.

Depuis le début du XVIII siècle, la société russe a connu des évolutions très rapides. L’entrée de la Russie sur la scène politique européenne a modifié les relations internationales, imposant à l’Europe de tenir compte de ce nouvel acteur. Cependant ce récent statut s’accompagnait aussi de profonds changements dans les comportements culturels russes : le développement du goût pour le théâtre comme divertissement privilégié d’une élite éclairée autorisait cette dernière à partager avec ses homologues européens une culture commune et un intérêt pour les mêmes débats sur le rôle, les effets et les évolutions de l’art dramatique. Pour favoriser ces échanges, les périodiques, dont la naissance et le développement en Russie interviennent presque simultanément, furent vite identifiés comme un instrument exceptionnel de communication. Ils contribuent à la transmission rapide tant de l’information récente que des éléments nécessaires à la culture générale du lecteur, en particulier en lui procurant les références considérées comme essentielles à sa participation aux discussions. Ils aident également à constituer des réseaux de journalistes et des zones d’intertextualité qui ouvrent la discussion virtuelle à l’échelle internationale.Nous souhaitons attirer l’attention sur un corpus d’articles de presse sur le théâtre, majoritairement constitué d’articles russes, peu exploités sous cet angle, publiés dans différents journaux entre 1759 et 1793. L’édition de ces articles permet de les analyser dans leur contexte européen, dans le dialogue avec leurs sources et leurs destinataires. Il s’agit d’abord de montrer comment le transfert et la réappropriation des genres journalistiques est un laboratoire formel pour les contributeurs, et un espace d’éducation à de nouvelles pratiques de lecture pour des lecteurs critiques, potentiels spectateurs avertis des théâtres. Cette analyse globale est accompagnée d’analyses de détails, centrées sur l’enjeu de la représentation des productions dramatiques nationales dans la presse européenne : l’image du théâtre russe, français ou anglais dans les journaux correspondants est un indicateur des relations entre les pays ou de l’efficacité des stratégies de politique culturelle. Au cœur de ces faisceaux d’intérêts convergents ou divergents, les problématiques de la réception des nouvelles formes théâtrales se manifestent, à la fin du siècle, dans un paysage recomposé de la presse européenne. / Since the beginning of the 18th century, society in Russia has evolved very rapidly. Russia’s arrival in the European political landscape changed international relations as European nations learned to count with this new player. This new status also brought forth profound changes in Russian cultural behaviours: as the taste for the theater as an exclusive, enlightened form of entertainment grew among the Russian elite, its members started to share with their European counterparts a common culture and an interest in debating the role, impact and evolution of drama. Periodicals, which appeared and spread in Russia almost at the same period, were quickly identified as an exceptional means to communicate and facilitate these exchanges. They enabled both the quick transmission of the latest pieces of information and the diffusion of the background elements necessary to the reader’s general knowledge – specifically by procuring them with the references considered as essential to participate in the ongoing discussions. They also helped with building networks of journalists and zones of intertextuality, which opened the virtual discussion on an international scale.We wish to shed light on a corpus of press articles relating to the theater, mostly consisting in Russian articles little read under that angle until now, which were published in a number of journals between 1759 and 1793. The publication of these articles allows us to analyse them in their European context, engaging in a dialogue with their sources and their recipients. We will show how the transfer and the reappropriation of journalistic genres provides contributors with a space to experiment, and also enables readers/critics, who are also potentially the informed spectators of the plays, to educate themselves to new reading practices. This overall approach is compounded by more detailed analysis on how national drama productions are represented in the European press: the respective image of the Russian, French or English theater in corresponding journals also reflects relationships between countries, and the efficiency of their cultural policy strategies. At the heart of those converging or diverging interests lie questions relating to the reception of new theatrical modes of expression at the end of the century in a changed European press landscape.

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Notre étude vise à interroger le goût artistique des financiers du xviiie siècle, à travers l'analyse de leurs comportements face aux différents acteurs du monde de l'art. qu'ils soient financiers collectionneurs, financiers amateurs, financiers artistes, ou encore financiers mécènes, ces manieurs d'argent, parfois jalousés, parfois adulés pour leur fortune, évoluent dans une sphère complexe, où rivalité et excentricité mondaine se mêlent aux codes de bienséance et de magnificence de la société nobiliaire. sévèrement critiqués au xviiie siècle, les financiers du siècle des lumières sont pleinement réhabilités dans la société, grâce, peut-être, à leur conformisme avec les us et coutumes de leurs contemporains. cherchant à égaler leurs semblables dans le paraître, nous pouvons nous interroger sur la manière dont les financiers, qu'ils soient fermiers généraux, receveurs des finances ou encore trésoriers, collectionnent leurs œuvres. ainsi, existe-t-il une manière ' financière ' de collectionner / Our study aims at questioning the artistic taste of the financiers of the eighteenth century, through the analysis of their behaviors vis-a-vis the different actors of the world of art. Whether financial collectors, financial amateurs, financial artists, or financial sponsors, these money handlers, sometimes jealous, sometimes adulated for their fortune, evolve in a complex sphere, where rivalry and eccentricity mundane mingle with the codes of decency And the magnificence of the noble society. Severely criticized in the eighteenth century, the financiers of the age of enlightenment were fully rehabilitated in society, perhaps thanks to their conformity with the habits and customs of their contemporaries. Seeking to equal their fellows in appearance, we may question the manner in which the financiers, whether general farmers, receivers of finance, or even treasurers, collect their works. Thus, is there a 'financial' way of collecting

v anglickém jazyce The study of sources related to the folk provenance is often in terms of the Czech historiography a neglected issue. Especially the research of folk chronicles has reached the utmost boom in the middle of the nineteenth century and then also in the interwar years. Nowadays, the study does not attract much attention. Therefore, the aim of this work is to capture and systematize the existing knowledge on this subject. Moreover, it is necessary to emphasize and show some other possibilities of dealing with these particular sources because they are valuable work for contemporary historiographical studies such as microhistorical and cultural anthropological research. Although one might think that these annals have rather a small informative value for the traditional political historical events, they offer an interesting insight into everyday life of ordinary people living in the countryside those days. This fact can definitely help one understand traditions as it also represents tendencies and trends in attitudes and behaviour of the rural society those days. The main purpose of the thesis is to consider what motivated folk authors to note down their stories and experience in chronicles. The alarming fact is that the post-war historiography has caused a lot of confusion over the true...

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Les multiples voyages que réalise Potocki tout au long de sa vie lui permettent de faire l'expérience d'un monde relatif, dont la compréhension appelle, au-delà de la raison, d'autres moyens de connaissance. La variété des normes, des croyances et des valeurs qu'il enregistre témoigne d'une infinie diversité des hommes. Parallèlement à ses récits de voyage, l'auteur revendique pourtant, dans ses écrits historiques, politiques, et dans ses aphorismes, un universel humain, appréhendé à l'aune de la liberté. La thèse met en lumière comment l'auteur tente de faire coïncider cet absolu, posé de manière théorique, avec un très grand relativisme normatif, perçu de manière empirique, et dont il entend rendre compte par une éthique de voyageur, à laquelle il n'est pas toujours fidèle. Précisément l'analyse de cet écart, entre sa manière d'appréhender l'Autre et la démarche qu'il s'était imposée, est riche de sens et dessine des éléments de réponse qui déplacent la question sur l'articulation entre diversité et unité humaines. Celle-ci ne se fait pas sans heurts à l'échelle des Œuvres, mais elle trouve sa pleine expression dans la synthèse proposée par le Manuscrit trouvé à Saragosse. Ce constat amène à réfléchir aux possibilités heuristiques offertes par la fiction. Potocki se sert du roman comme d'un laboratoire pour soumettre l'homme à l'expérience de la philosophie du « comme si », et pour mettre à l'épreuve sa nature ontologique. Cette enquête, extrêmement féconde pour comprendre comment l'universel humain favorise paradoxalement la plus grande diversité des peuples et la singularité des individus, soulève néanmoins le problème du relativisme cognitif. L'être et le monde n'existent-ils, pour Potocki, qu'à travers un discours, une représentation ? / Built on a life-long series of travels, Jan Potocki's experience of a relative world calls, beyond the notion of reason, for the unveiling of new paths to knowledge. The wide variety of norms, beliefs and values he has recorded demonstrate the endless diversity of men. Yet, alongside his travel memoirs, the author has also depicted, in his historical, political works, as well as in his aphorisms, a universal humankind in its rapport to freedom. This thesis highlights the writer's attempt to match his search for the Absolute, as defined in theoretical terms, with a compelling normative relativism in its empirical perception. Thus Potocki sought to outline the ethos of the wanderer - without necessarily being true to it himself. The discrepancy between the way he related to his fellow men and the approach he had initially devised for himself is precisely where the analysis becomes meaningful, suggesting in its findings that the contention might in fact revolve around the junctures between the diversity of men and their notional oneness. While research may prove strewn with obstacles in Œuvres, it is most significant and highly relevant in the synoptic Manuscript Found in Saragossa, leading us to reflect upon the heuristic potential of fiction writing. Potocki uses the novel as a laboratory in which he subjects man to the philosophical experiment of the ‘as if', and puts his ontological nature to the test. However fruitful the investigation might be when it comes to understanding the paradox of how universality in men breeds growing diversity and individuality, it also raises the issue of cognitive relativism. Do humankind and the world only exist, according to Potocki, through verbal and mental representations ?

OF PROPER CONDUCT: PRIVATE TUTORS IN STOCKHOLM AND ITS ENVIRONS 1793–1795 This paper studies private tutors in Stockholm and its environs 1793-1795 by examining work advertisements written by said tutors. It is in part a continuation of a previous study of the education market in Stockholm 1798. It utilizes Yvonne Hirdman ’s gender theory and Pierre Bourdieu’s concepts of symbolic capital to analyze differences in what male and female tutors offered to teach, how they portrayed themselves and if any social groups could be ascertained. Both qualitative and quantitative methods are used, where the quantitative method is partly influenced by the verb oriented-method from the Gender and Work (GaW) project and the qualitative method is influenced by hermeneutics. The study shows that most of the tutors were men, and of those men a majority were students, priests, educated men and officials. The female tutors did not use titles overall, but the subjects they offered to teach suggests most were in the mid- to upper mid layer of society. The French salon culture was dominating among the nobles at the end of the 18th century. This study argues that the salon culture was the cultural capital by which the tutors measured themselves. Because of their academic merits, men tended to use institutionalized cultural capital while women used only partly embodied cultural capital through their knowledge of the French language. Where men tended to use formal merits, women used a wider array of strategies. There were however a number of men who used strategies of weakness when faced with financial difficulties. Women taught mainly needlework and French, where female tutors offering to teach how to sew of clothes showed a shift from male professional tailors to female seamstresses. It is argued that Hirdman’s principle of segregation between men and women both affected the subjects the tutors were able to offer as well as the subjects they did offer.

This document provides a brief history of Vauxhall Gardens and an overview of its musical achievements under the proprietorship of Jonathan Tyers and his sons during the 1745-1784 period when Thomas Arne (1710-1778) and James Hook (1746-1827) served as music directors. Vauxhall Gardens provided an extraordinary environment for the development and nurturing of solo songs in the eighteenth century. Here the native British composers' talents were encouraged and displayed to capacity audiences of patrons who often came from privileged ranks of society. The largely anonymous poems of the songs were based on classical, pastoral, patriotic, Caledonian, drinking or hunting themes. The songs ranged from simple, folk-like ballads in binary structures to phenomenally virtuosic pieces which often included several sections. During the early years of vocal performances at Vauxhall (c. 1745-1760), the emphasis was on delivery of texts, sung to easily remembered melodies with little ornamentation and few florid passages. However, the coloratura style of Italian opera was assimilated and anglicized by Thomas Arne, his contemporaries, and later by James Hook. In the 1770's and 1780's, composers continued to refine all the forms and styles that had been popular since the 1740's; this developmental process was mainly technical. Vauxhall songs were composed with orchestral accompaniment and incorporated the techniques of the Mannheim school. All the melodic, rhythmic, harmonic and orchestral devices of the era were available to the British composers, and they borrowed freely from each other and from the continental masters. While certain forms evolved more clearly in the 1770's and 1780's, such as the rondo, major changes were not observed in the poetry. Vocal music at Vauxhall Gardens occupies a position in history as a steppingstone toward mass culture. Vauxhall ballads were printed in annual collections and single sheets by a vigorous publishing industry. When the Industrial Revolution caused the middle class to splinter into further groupings toward the end of the eighteenth century, the new lower middle class shunned the artistic pleasures of the upper classes and developed its own entertainments, which resulted in a permanent separation of popular and classical musical cultures, as well as the decline of Vauxhall Gardens / Arts, Faculty of / Music, School of / Accompanied by cassette in Special Collections / Graduate

This dissertation examines ways in which women constructed and criticized matrimony both before and after their own marriages. Social historians have argued for the rise of companionacy in the eighteenth century without paying attention to women's accounts of the fears and uncertainties surrounding the prospect of marriage. I argue that having more latitude to choose a husband did not diminish the enormous impact that the choice would have on the rest of a woman's life; if anything, choice might increase that impact. Lady Mary Wortley Montagu, Hester Mulso Chapone, Mary Delany, and Eliza Haywood recorded their anxieties about and their criticisms of marriage in public and private writings from the early years of the century into the 1750s. They often elide their own complex backgrounds in favor of generalized policy statements on what constitutes a good marriage. These women promote an ideal of marriage based on respect and similarity of character, suggesting that friendship is more honest, and durable than romantic love. This definition of ideal marriage enables these women to argue for more egalitarian marital relationships without overtly calling for a change in the wife's traditional role. The advancement of this ideal of companionacy gave women a means of promoting gender equality in marriage at a time when they considered marriage risky but socially and economically necessary.