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The combination of observational, anecdotal and circumstantial evidence suggests that, in the present-day Christian church, older, traditional hymns are slowly but inexorably being replaced by modern, contemporary ones. Whilst it is a truism that hymnody, like every other aspect of civilisation, moves forward with the times, there still remains a large number of people, congregations and clergy for whom the early eighteenth century English hymn is a genre that remains ever-popular. This research focuses deliberately on the eighteenth century hymn for four main reasons. First, hymns from this period are widely used in most Christian denominations. Second, the eighteenth century was a particularly fertile period for hymnody. Third, this was the era of Watts and Wesley, arguably two of the greatest hymn writers of all time; their burgeoning popularity thrust the eighteenth century into a period of proclivity for hymn writing. Finally, the whole area of hymnody in the Church of Ireland appears to be under-researched. Thus, in seeking to determine why older, more traditional hymns continue to be published in Church of Ireland hymnals this research fills a very obvious gap. This study establishes that this resilience is real and not merely perceived. Eighteenth century hymns are still widely sung in today’s Church, irrespective of size, location, setting, status, leadership or congregation. The study explores the many reasons behind this resilience—reasons that go beyond the more obvious musical and liturgical ones and highlight the impact of hymnody from a variety of angles. / Thesis (PhD (Liturgics))--North-West University, Potchefstroom Campus, 2012

This thesis seeks to define how Francis Barrett’s The Magus, Or Celestial Intelligencer is indicative of a transitional period (1800–1830) of English Magic. The intention and transmission of Barrett’s The Magus is linked to the revival of occultism and its use as a textbook for occult philosophy. This thesis provides a historical background preceding this revival. The aim of the thesis is to establish Barrett’s text as a hybrid interpretation of Renaissance magic for a modern audience. It is primarily by this hybridization that a series of feedback loops would begin to create the foundation for modern occultism. This study utilizes a careful study of primary sources, including a systematic examination of The Magus within its intellectual and social contexts.

This dissertation examines the aesthetics of Adam Smith. It argues that, despite appearances to the contrary, Smith not only articulated ideas on the subject and was engaged in the aesthetic debates of his time, but that he in many ways innovates on and challenges received opinion—he thus differs significantly from some of his better known contemporaries, including Edmund Burke and David Hume. For this reason, he is not merely a major thinker who happened to dabble in aesthetics; on the contrary, he considered the subject, which appears in nearly all his works, important, and often interrogates its issues in a more studied way. My project thus makes a case for Smith as a significant thinker in the history of aesthetics, one who merits renewed attention. This study does so by investigating the major aesthetic issues of the day, which Smith in fact discusses. It begins by examining Smith’s remarks on taste—the aesthetic issue of the century—which occur largely in Theory of Moral Sentiments. Though seemingly tangential, his discussion of taste is significant as it argues against the predominant eighteenth-century current that maintained the existence of a standard. He also challenges theorists such as Hume who made aesthetic experience classless and, especially via sympathy, disinterested. The study next investigates Smith’s aesthetic normativity and what are for him valid aesthetic judgments, which can be reconciled with his remarks problematizing taste. Here too, Smith appears to argue against the predominant impulse that sought to ground valid aesthetic experience in the immediate; in doing so, Smith demystifies and democratizes aesthetic experience. Finally, the dissertation investigates tragedy, by far the literary genre that most interested Smith, and which also drew attention from better known theorists. The paradox of tragedy—why readers and spectators are attracted to painful representations—was an aesthetic issue that vexed many thinkers of the century, and although Smith appears to ignore the issue, we have in his moral theory a solution to the paradox, one that is unique and more satisfying than those of his contemporaries. The project concludes by examining Smith’s relation to neoclassical dramatic theory. Though superficially appearing complacent in uncritically adopting neoclassical doctrine, Smith, even here, is being original.

The combination of observational, anecdotal and circumstantial evidence suggests that, in the present-day Christian church, older, traditional hymns are slowly but inexorably being replaced by modern, contemporary ones. Whilst it is a truism that hymnody, like every other aspect of civilisation, moves forward with the times, there still remains a large number of people, congregations and clergy for whom the early eighteenth century English hymn is a genre that remains ever-popular. This research focuses deliberately on the eighteenth century hymn for four main reasons. First, hymns from this period are widely used in most Christian denominations. Second, the eighteenth century was a particularly fertile period for hymnody. Third, this was the era of Watts and Wesley, arguably two of the greatest hymn writers of all time; their burgeoning popularity thrust the eighteenth century into a period of proclivity for hymn writing. Finally, the whole area of hymnody in the Church of Ireland appears to be under-researched. Thus, in seeking to determine why older, more traditional hymns continue to be published in Church of Ireland hymnals this research fills a very obvious gap. This study establishes that this resilience is real and not merely perceived. Eighteenth century hymns are still widely sung in today’s Church, irrespective of size, location, setting, status, leadership or congregation. The study explores the many reasons behind this resilience—reasons that go beyond the more obvious musical and liturgical ones and highlight the impact of hymnody from a variety of angles. / Thesis (PhD (Liturgics))--North-West University, Potchefstroom Campus, 2012

This thesis explores elite culinary culture over the course of the French Enlightenment. The eighteenth century was a time of great culinary innovation during which the basic structure and import of mealtimes diverged dramatically from the long-standing traditions of the royal court. The culinary elite of the French Enlightenment (located mainly in Paris and Versailles) were deeply facinated by the evolving issues of cuisine, taste, and diet, as well as how these issues related to central cultural, political and educational institutions. Culinary innovations had widespread impact on many varied aspects of daily life, such as: expressions of social standing, developments in health science, and situating one's personal moral compass. The following work discusses the connection between food and each of these issues, ultimately asking what it meant for the eighteenth century French culinary elite to eat, and what effect their choice of food had on their identities. / Graduate

PhD / Bodhasāra, previously untranslated into English, is a Sanskrit treasure. Written by Narahari in eighteenth century India, it consists of charming Sanskrit verse of the highest order. Full of metaphors and word puns, it is a clever piece of literature that stimulates the intellect and imagination. By carefully following the traditional protocols, Bodhasāra remains acceptable to orthodox Advaita Vedāntins. However, although superficially it appears to be merely another presentation of the Advaita Vedānta tradition, in-depth reading reveals a refreshingly new style. The Hindu tradition is poetically presented as invaluable to awaken discernment between the real and unreal, but the import of Bodhasāra is that, ultimately, liberation requires a maturity that is not bound by anything, including the tradition itself; it comes through an awakening discernment. Narahari is celebrating jīvanmukti, not as liberation from the world, but as liberation while living. Bodhasāra is stylishly poetic, but not poetry for poetry’s sake, nor bhakti (religious devotion); rather it exemplifies the potency of rasa (aesthetic flavour) and dhvani (aesthetic suggestion). Narahari understands the correspondence between words and truth and uses his poetic style to facilitate union of the individual and universal. Few eighteenth century Sanskrit works have even been read, let alone translated into English, so this translation of Bodhasāra is a valuable example of Indian thought immediately before Colonialism. It shows what modernity, defined here as a moving away from entrenched traditional beliefs to an empowerment of the individual living in the present moment, in an Indian context could have been like if Colonialism had not intervened. The implications of Bodhasāra to scholars of Indian history, Advaita Vedānta and Yoga need to be considered. Bodhasāra extends the project ‘Sanskrit knowledge systems on the eve of colonialism’ being a work on mokṣa written in the late eighteenth century. It revitalises academic research into Advaita Vedānta, presents a fresh view of Yoga, and fits well the notion of an Indian modernity or renaissance during the sixteenth to eighteenth centuries.

La Soubrette Confidente is an eighteenth-century French engraving by Gérard Vidal after a gouache drawing by Nicolas Lavreince. The image depicts an interior where notions of lady-like behavior are emphasized–the acquisition of knowledge through the writing and reading of letters and the discussion of personal matters with trusted confidants. What is most intriguing about this print are not the actions of the women, their fashion, or the furniture, but how all of these elements are affected by a simple change in decoration: the addition of a painting of a reclining nude on the wall. The difference between the original and reproduction incites a series of questions that I will explore: how has the print and the two artists been considered historically; why were the changes were made from the gouache to the print; how did these changes affect the viewer's interpretation of the image, and finally how are the changes made by Vidal are related to the social and historical context within which they were made.

This thesis argues that the officer establishment of the British Army experienced considerable professional, administrative and social change from its expansion in 1689 to the outbreak of war in 1739. In the intervening fifty year period, the British army and the officers who led it experienced alternate periods of prolonged war and peace. This led to the retention and dissemination of administrative practices, gentlemanly behaviours and professional competencies that enabled officers to remain motivated and dedicated to military service, despite multiple factors that hindered their ambitions and reduced their career prospects. This development was not a series of comprehensive reforms, but rather ad hoc measures which took effect through the efforts of commanding officers, the will of the monarch and the administrative power of the War Office. These changes occurred within the existing military system, stretching its capacity to satisfy multiple interests to its limit, and resulting in the prioritisation of certain consideration over others. Using a greater quantity and range of archival material than previous historiography, the thesis adopts several historical approaches towards their interpretation, from institutional and military history, to cultural and political history. This offers new perspectives and in-depth analysis to challenge some arguments made about army officers during this period, and refinements to others. It contributes to our understanding of the late seventeenth and eighteenth century army by rethinking the martial ethos of the officer establishment, and its impact on the officer establishment's capabilities, behaviour and relationship with the crown.

abstract: The combination of soprano, trumpet, strings and continuo was used with much frequency by Baroque composers in their cantatas, oratorios and operas of the time, giving the trumpet a very important place as a solo instrument from 1600 to 1750. The discovery of two pieces by Neapolitan Baroque composers Domenico Sarro (1679-1744) and Gennaro Manna (1715-1779) enlarges the already important body of known works for this instrumentation. Presenting them in performance editions is a valuable contribution to this repertory. Making performance editions available to performers is always an important and exciting task, especially if they exhibit features that have rarely been seen in this combination of instruments and voices. This is specifically the case with Manna's Tuba Sonora Exclama, which shows many interesting features of the Early Classical style. Both works were discovered by the author in a digital archive sponsored by the Ministry of Heritage and Culture for the Italian Government. The original copies of these works are held at two Neapolitan libraries: Biblioteca Statale Oratoriana del Monumento Nazionale del Girolamini (Manna's piece), and Biblioteca del Conservatorio di musica San Pietro a Majella (Sarro's Per abbattere il mio core, from his opera Partenope.) The manuscripts, obtained in digital format, are well preserved and easy to understand. Along with the scores prepared for this document, some historical background about each composer, a discussion of the use of the trumpet as a solo instrument in arias with voice, and descriptions of the pieces are presented. Other important information, such as editorial procedures and critical notes, is also given. / Dissertation/Thesis / D.M.A. Music 2011