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

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.

Cet ouvrage a pour objet l’étude de différents peintres moghols ayant exercé leur activité au XVIII° siècle, c'est-à-dire entre la fin du règne d’Aurengzeb et le début de celui d’Akbar II. Il s’attache à établir, pour chaque peintre, des catalogues de l’œuvre peint, et, partant, à définir les caractéristiques de chacun, en analysant le style et l’approche iconographique des peintures. Jusqu’à présent, la méconnaissance globale des collections de peintures mogholes du XVIII° siècle a désigné cette période comme une phase de recul qualitatif des peintres et des peintures, ces dernières étant généralement considérées comme peu nombreuses, stylistiquement faibles et limitées à des sujets galants, courtois ou érotiques. C’est en analysant ces collections peu étudiées que nous avons tenté d’améliorer la connaissance de cette période, à travers la vie et l’œuvre des peintres moghols face aux bouleversements qui surviennent dans l’Inde du nord tout au long du XVIII° siècle. Ainsi, nous nous sommes attaché à montrer, qu’après une première phase où prévaut, chez les peintres, une forme de classicisme, les membres de l’académie impériale ont tenté de rénover l’esthétique moghole face à l’émergence d’ateliers régionaux concurrentiels. Nous avons ensuite suivi le parcours des peintres qui s’installèrent en Oudh, amenant, sans rupture, le mouvement appelé Company Paintings, tandis qu’à Delhi, les membres de l’académie impériale s’orientaient vers une forme de néoclassicisme pictural. Ce travail permettra de jeter un regard nouveau sur les peintres moghols au XVIII° siècle, en montrant l’évolution donnée à l’esthétique classique dans un contexte de régionalisation de la peinture. / This work is a study on Mughal painters who were active in the 18th century, between the end of Aurengzeb and the beginning of Akbar’s rein. The intention is to establish a catalogue of painted works for each painter, thereby defining the characteristics of each one through an analysis of the style and different iconographic approaches within the paintings. Until recently, the global lack of knowledge of Mughal eighteenth century painting collections defined this period as one of decline in the quality of painters and their works, the latter being generally considered to be small in number, stylistically weak and limited to gallant, courtly, and erotic subject matter.Through an analysis of these rarely studied collections that we have broached a renewal of our understanding of this period through the lives and works of these Mughal painters who were facing the political and economical disruptions that took place in the North of India throughout the whole of the eighteenth century. Therefore, our work has been focused on revealing that after an initial phase, when a form of classicism prevailed in the painters’ works, the members of the imperial academy aimed at renewing a Mughal aesthetic as the concurrent regional workshops emerged. We have then followed the direction of the painters who settling in Oudh, took with them, the movement known as Company Paintings, whereas in Delhi, the members of the imperial academy orientated themselves towards a neoclassical pictoralism. This work, by showing in particular the evolution of a classical aesthetic, will therefore allow us look anew at Mughal painters of the eighteenth century, within the context of the regionalisation of painting in India.

The thesis deals with the musical and stylistic analysis of the F. X. Brixi's oratorio Judas Iscariothes, that was preserved in the Osek Monastery under the name Oratorio pro die sacro parasceves. The first part of the thesis describes the musical history, preserved music sources and inventories of Osek. The next section deals with the oratorio in Osek. The main point of this chapter is to inventory oratorio productions performed in Osek during the 18th and early 19th century. The key part of the thesis is the musical and style analysis of the oratorio Judas Iscariothes. Appendix contains the edition of this oratorio.

Surgeons of Prague in historical sources of 18th and 19th century Abstract This diploma thesis uses the archival sources on the surgeons' guild and the papers of the central authorities to explore the position of the surgeons within the medical structure in modern times. All the materials are taken from Prague City Archives, The National Archives and Archive of Charles University in Prague (e.g. laws and statutes, registers of all types, statutes of the guild or university charters, personal documents of the guilds' members). The text is focused on surgeons' gaining independence compared with doctors of medicine and moving away from barbers craft organization. The process of their transition under the supervision of the medical faculty and the official start of surgical studies at the university are examined. Furthermore, the study includes an analysis of the role of the guild, the social status of the surgeons in Prague and the character of their education including transformation in this field during the Enlightenment reforms till the revolutionary year 1848. The information extracted from the sources allows to follow the development of surgery from disrespected profession into an inherent part of medical sciences by exploring all the phenomena concerned with the education of surgeons and legal aspects of...

The presented thesis deals with the historic-linguistic analysis of private travelogues of Kašpar Šternberk that were arosen in the years 1786 and 1787. Historical part is dedicated to the family of Sternberk, the life of Caspar Sternberg and political, social, cultural and linguistic development in 18th century. The textological part is oriented on syntactic - stylistic and lexical analysis of the text. According to the research, in the travelogues that is written as diary, the paratactic phrase exceeds hypotactic phrase. Hypotactic phrase consists mainly of the subordinate declarative clauses. Due to these results, the finitum was found mostly on the second and last place in a sentence. With few exceptions the position of finitum was strictly kept as well as sentence frame. By the research of the lexical analysis there was found out that in the diaries the words coming from Latin, Greek, French and Italian occur. There are mainly the expressions connected with architecture, science and art.

Cette thèse se propose d’étudier les contes en vers au XVIIIème siècle, production foisonnante et féconde mais qui n’a jamais fait l’objet d’une analyse d’ensemble. Véritable phénomène de mode, comme le conte de fées qui le précède, le conte en vers est pratiqué par les auteurs reconnus, à l’image de Voltaire, comme par les plumes de second ordre, tel Grécourt, l’auteur le plus prolifique du temps. Genre marginal non codifié par les théoriciens et décrié par les tenants de l’orthodoxie littéraire, le récit versifié, qui relève de la poésie fugitive, se présente comme une émanation directe de l’art de la conversation si prisé à l’époque qu’il impose des thèmes aux écrivains et modèle la poétique des textes. Oscillant entre divertissement mondain et genre littéraire à part entière, témoignant de la crise de la poésie au siècle des Lumières, le conte en vers incarne la recherche d’une nouvelle voie poétique empreinte d’humilité, de légèreté et de simplicité et récusant la gravité et le sublime. Notre travail, qui se limite aux textes imprimés, adopte successivement trois perspectives : sociologique, historique et générique. Poésie de société, création collective et sérielle, le conte manifeste le goût du persiflage et du badinage propre à l’époque. L’approche diachronique vise quant à elle à éclairer les temps forts de la vogue du conte de 1715 à la Révolution mais aussi à dégager une continuité transhistorique en déterminant les sources ainsi que la postérité du genre. Le conte est enfin envisagé dans son rapport aux autres genres qu’il se plaît à imiter et à détourner. Libertin par sa philosophie, le conte l’est surtout par son écriture allusive et subversive. / This thesis means to study the 18th century verse tale, a rich and diverse work which has never been the subject of an overall analysis. A real fashion phenomenon, just like the fairy tale that preceded it, the verse tale was practiced by well-known authors (Voltaire) as well as second rate writers such as Grécourt, the most prolific. The narrative put into verse was a minor genre with no code which was disparaged by the supporters of literary orthodoxy. It falls within the province of transient poetry and comes straight from the art of conversation, which was so highly prized at the time that it imposed themes on writers and shaped the poetics of the texts. Between refined entertainment and fully-fledged literary genre, the verse tale, which underlines the crisis poetry was going through at the Age of the Enlightenment, embodies the search for a new poetic way marked by humility, lightness and simplicity and objecting to solemnity and the sublime. Our work, which is limited to printed texts, adopts three different angles: successively, the sociological, historical and generic angles. Tales, which are society poems and collective and serial works, are an indication of the taste for mockery and banter characteristic of this time. As for the diachronic approach, it aims at throwing light on the peaks of the vogue for tales from 1715 to the Revolution but also at bringing out a transhistoric continuity by establishing the origins as well as the posterity of the genre. Tales are also viewed in connection with the other genres it delights in imitating and twisting. They are libertine because of their philosophy but above all because of their allusive and subversive writing.

La société en nom collectif est au XVIIIe siècle la forme juridique de société la plus utilisée en France. À la fois société de personnes et société de commerce elle a des antécédents qui ont assuré sa notoriété et qui ont consacré l’usage qu’en font les marchands et les négociants. Elle figure ainsi dans l’ordonnance du commerce de 1673 sous le nom de « société générale » car elle est choisie par la plupart de ceux qui veulent créer une société. Alors que les associés en nom collectif affichent publiquement leurs noms et sont responsables sur tous leurs biens des dettes de la société, les autres sociétés de l’époque que ce soit les commandites ou les sociétés anonymes ont à l’inverse des associés qui restent le plus souvent dans l’ombre. Cette situation ambiguë n’est pas sans conséquences. Les nombreux changements qui marqueront le XVIIIe siècle n’ébranleront pas cependant la société en nom collectif dans ses assises et sa solidité. La cohérence de son modèle lui assurera même sa pérennité alors que le Code de commerce de 1807 tenant compte des évolutions intervenues depuis l’ordonnance de 1673 changera les dispositions concernant les sociétés sans modifier pour autant celles relatives à la société en nom collectif. En utilisant de nombreux textes issus des sources de l’époque, les principales caractéristiques de cette société et les motifs qui ont conduit les commerçants à l’adopter comme cadre juridique de leurs activités ont été recherchés à travers une grande variété d’exemples. Cette approche a conduit également à examiner son mode de fonctionnement afin d’apprécier les conditions et les moyens de son développement. Enfin, la société en nom collectif a été analysée à travers les difficultés auxquelles elle était confrontée du fait de ses associés ou de celles résultant de sa dissolution qu’elle soit voulue ou subie. Dans ce contexte, la société en nom collectif est présentée, tour à tour, dans ses fondements, dans ses affaires et dans ses épreuves. / The most common form of partnership used in France during the eighteenth century was general partnership, société en nom collectif. As a partnership and trade model it was already well known and was used by both the merchant and the business communities. The 1673 commercial order, ordonnance du commerce, refers to it as a general partnership because this was the form most commonly chosen to create a company/partnership. Whereas the names of the partners in a general partnership were in the public domain, with these partners assuming unlimited liability for company debt, the names of partners in other forms of company at that time, such as limited partnerships or anonymous companies, generally remained undisclosed. Although this ambiguous situation was to have consequences, the various changes taking place during the 18th century did not affect the basic principles of the general partnership, with the model remaining unchanged under the 1807 Commercial Code review of partnerships: acknowledgement of the fact that it was a coherent and durable model. A wide variety of companies was examined by referring to 18th century French records in order to evaluate the main characteristics of these companies and the reasons why business people opted for this model. This research involved examining the ways in which such partnerships were created and built and the conditions required for their growth and development, as well as management of risk. In addition, this company model was examined in relation to difficulties arising from both loss of partners and winding up of business activity, whether voluntary or involuntary. This study examines the foundations, scope and risks and difficulties encountered by general partnerships.

No description available.

O trabalho que apresento aqui pretende relacionar o romance O Guarani (1857), de José de Alencar, com os principais romances góticos que proliferaram na Inglaterra na segunda metade do século XVIII e no começo do século XIX. Mais celebrado por seu conteúdo indianista e considerado um dos expoentes do Romantismo brasileiro, O Guarani parece tomar emprestado do romance inglês aspectos imagéticos e discursivos. A intertextualidade se manifestaria especificamente na apropriação da retórica do sublime (efeito condutor do gótico) e na representação do antagonista (a noção de lawlessness), elementos que são aclimatados pelo autor para a realidade brasileira. O enfoque gótico se apresentaria no romance brasileiro em caráter periférico, pontuando uma tensão entre os ideais progressistas pretendidos por Alencar e a realidade de um Brasil largamente incivilizado em busca de sua identidade nacional pós-emancipação. Na construção da identidade brasileira pensada por Alencar, há a incorporação de alguns traços específicos do romance inglês ao mesmo tempo em que outros são rejeitados. O trabalho apresenta uma reflexão sobre os motivos góticos no Guarani e procura oferecer uma interpretação do significado de um “vilão gótico" no Brasil pré-republicano. / This work associates the Brazilian novel The Guarany (1857), by José de Alencar, to the main gothic novels that flourished in England in the second half of the 18th century. Traditionally celebrated by its indigenous content and considered a key text to Brazilian Romanticism, The Guarany shows evidence of graphic and discursive appropriations from the English fiction. This intertextuality can be seen specifically in the use of a sublime rhetoric (conductor of the gothic effect) and in the representation of the antagonist (lawlessness model). These elements are acclimatised by the author to the Brazilian context. The gothic features stem in the Brazilian novel as peripheral characteristics, comprising a tension between the progressive ideals intended by Alencar and the reality of an uncivilized country, marked by a quest for national identity post-emancipation. In the construction of the Brazilian identity thought out by Alencar there is the incorporation of specific traces of the English gothic at the same time other traces are rejected. This research provides evidences of gothic motives in The Guarany and offers an interpretation of the meaning of a gothic villain in a pre-republican Brazil.