The primary objective of this thesis is to identify patterns of appearance among the flora and fauna of selected eighteenth-century New Spanish casta paintings. The objectives of the thesis are to determine what types of flora and fauna are present within selected casta paintings, whether the flora and fauna's provenance is Spanish or Mexican and whether there are any potential associations of particular flora and fauna with the races being depicted in the same composition. I focus my flora and fauna research on three sets of casta paintings produced between 1750 and 1800: Miguel Cabrera's 1763 series, José Joaquín Magón's 1770 casta paintings, and Andrés de Islas' 1774 sequence. Although the paintings fall into the same genre and within a period of a little over a decade, they nevertheless offer different visions of New Spain's natural bounty and include objects designed to satisfy Europe's interest in the exotic.

Orientador: Roberto Romano / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-07T19:51:06Z (GMT). No. of bitstreams: 1 Kawana_KarenKazue_D.pdf: 1216219 bytes, checksum: e7fe9dfd1c01a1717310a9885e224856 (MD5) Previous issue date: 2006 / Resumo: O objetivo deste trabalho é procurar mostrar como há uma mudança na maneira como a idéia de natureza no século XVIII é concebida pelos pensadores. Poderíamos considerar o século como um período de transição entre duas épocas do pensamento europeu no qual observamos a substituição de uma concepção de mundo herdada da tradição clássica e do racionalismo por idéias que mais tarde darão origem ao romantismo. A natureza clássica é inteligível, ela forma uma totalidade harmônica e ordenada que poderíamos alcançar por meio da razão, ela englobaria todos os nossos conceitos, inclusive os morais, eles teriam, assim, uma existência própria e seria por meio de nossa razão que os compreenderíamos e poderíamos colocar em prática em nosso cotidiano. O que vemos, ao longo do século em questão, é um descrédito dessa visão de mundo (ou natureza, pois ambas as palavras são intercambiáveis) em favor de uma concepção de mundo voltada para os fenômenos, para aquilo que podemos apreender por meio de nossos sentidos, sensações e sentimentos. Em suma, estes últimos começam a ganhar a posição de destaque antes ocupada pela razão / Abstract: The aim of this work is to point how the philosophers considered nature in the Eighteenth Century. In that period we observe the substitution of a world view inherited from the Classical and Rationalist traditions for those ideas which will give birth to the Romanticism in the Nineteenth century. For the Classicists nature is apprehended by reason, it constitutes an harmonic and organized unit which is reached by our intellectual faculties, it would enclose all our concepts, even the moral ones, and our reason would be the faculty by means of which we could understand those concepts and put them to practical use in our everyday life. What we see during the Eighteenth century is an undervaluation of the Classicism in favor of a world view focused on the phenomenal world, on those things which we can apprehend through our senses, sensations and feelings / Doutorado / Historia da Filosofia / Doutor em Filosofia

The grant of the diwani to the East India Company in August 1765 represents a climacteric moment in British imperial histories. Vested by the Mughal Emperor Shah Allam II, this newfound right to collect revenue saddled the Company with the broader and formal economic, judicial and military responsibilities of a territorial empire. Wherefore, in the era of post-Mughal political splintering, the EIC, as an emerging subcontinental state had to contend with internal revolts abetted by ethno-religious and socio-economic crises, but also because of threats posed by the Kingdom of Mysore and the Maratha Confederacy. Nevertheless, in the midst of the American Revolution, the EIC’s contentious and contested conduct of imperial governance in India became an ideological, philosophical and pragmatic point of domestic and imperial contention. Thus, confronted with the simultaneous internal and external implications of the crises of Empire between 1765 and 1788, the role of the Company’s fiscal-military administration and exercise of violence within the spheres British imperial governance was reconceptualised and in doing so contemporaries underwrote the emergence of what historians have subsequently called the ‘Second British Empire’ in India. Alternatively, the reconceptualisation of the EIC’s fiscal-military administration served to ensure the continuity and preservation of the British imperial nexus as it was imposed upon Bengal. This work, therefore, traces the Company’s fiscal-military administration and dispensation of violence during the ‘crises of empire’ as a point of genesis in the development and reformation of British imperial governance. Moreover, it will show that the interdependent nature of the Company’s ‘fiscal-military hybridity’ ultimately came to underwrite further the ideological, philosophical and pragmatic consolidation of imperial governance in ‘British India’. Accordingly, this dissertation examines the interdependent role between Parliament’s reconceptualisation of the East India Company’s fiscal-military administration of violence and the changing nature of British imperial governance in ‘British India’.

Several late eighteenth-century keyboard composers indicated that some of their works were written specifically for the clavichord, as opposed to the harpsichord or pianoforte. This demand was indicated by a composer's commentary, remarks made by a contemporary, or by Bebung and Tragen der Tone indications in the music. The thesis examines selected works of C.P.E. Bach, Johann Eckard, Nathanael Gruner, Johann Hassler, Christian Neefe, F.S. Sander, and Daniel Tt*rk, and discusses elements of the music that seem particularly suited to clavichord performance. These elements are Bebung, Tragen der TOne, finely nuanced dynamic indications, certain types of melodic writing, and a thin textural composition.

Auch in Polen ist die zweite Hälfte des 18. Jahrhunderts eine Zeit, in der man – wie am Beispiel der Warschauer Bühne gezeigt werden soll - auf eine fast experimentelle Weise den Prozeß grundlegender Wandlungen verfolgen kann, die in der Organisation, in der Funktionsweise und im künstlerischen Profil des Operntheaters vor sich gehen.

In an appendix section, three notable arias have been transcribed for two clarinets, voice, and piano. A further evaluation of Classical period opera orchestration will aid modern performers and musicologists in their understanding of what clarinets and clarinetists were able and expected to do.

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In this bachelor’s thesis I have studied portraits from the 18th century where the person portrayed is named and in the guise of an antique goddess. I have used a gender perspective through out the paper and have used Judith Butler´s ideas about gender performativity. I have also used Carolina Brown’s Liksom en herdinna. Litterära teman i svenska kvinnoporträtt under 1700-talet and Anna Lena Lindberg’s En mamsell i akademien – Ulrica Fredrica Pasch och 1700-talets konstvärld which both has a gender perspective when they examine portraits and the art world during the 18th century. I have used iconological and iconographical analyses to study what it means to be portrayed as an antique goddess, what the portraits communicate and how they create gender identities. I have also done literature studies to understand and explain the society that created the portraits I’m analysing. My study has shown that it was more common for women to be portrayed as antique goddesses than it was for men to be portrayed as antique gods, and that class was more important than gender but that gender performativity still had an important role.

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