Ce mémoire porte sur la représentation de la fureur dans la tragédie en musique "Roland" de Philippe Quinault et Jean-Baptiste Lully, créée en 1685. Il cherche à préciser, dans une perspective historique et rhétorique, les moyens littéraires, musicaux et scéniques par lesquels sont rendus les excès du personnage furieux sur la scène classique du second XVIIe siècle. Le premier chapitre vise à rassembler les figures mythiques de la fureur dans une perspective d’ordre historique, des origines antiques aux diverses reprises dramatiques du répertoire français, en passant par la célèbre épopée de l’Orlando furioso, rappelant ainsi les bases de la topique de la fureur. Il s’intéresse également au développement d’une esthétique de la fureur propre au genre dramatique, ainsi qu’à son rapport au sublime, idéal d’expression classique. Guidé par la question de la représentation et de ses effets sur le spectateur, le second chapitre propose une analyse rhétorique de la scène de fureur dans Roland. L’étude de cette scène en fonction des différentes parties de la rhétorique – inventio, dispositio, elocutio et actio – démontre qu’une dynamique de contraste et d’alternance entre force et douceur se situe au cœur de la rhétorique du dérèglement qui conduit les représentations de la fureur. / This dissertation addresses the representation of fury in Jean-Baptiste Lully and Philippe Quinault’s 1685 opera, Roland. It seeks to define the rhetorical means through which fury is conveyed on the classical stage of the second half of the XVIIth century, whether they be found in the music, text or staging. The first chapter considers the mythological figures of fury in a historical perspective, from ancient origins to the famous Orlando furioso and its numerous reinterpretations in the French dramatic repertoire, therefore gathering the basis of the topic of fury. This section also addresses the development of the aesthetics of fury, and its relation to the sublime ideal of classical expression. Guided by the idea of performance and of its effects on the audience, the second chapter studies Roland’s wrath in a rhetorical perspective. Following the traditional rhetorical divisions – inventio, dispositio, elocutio and actio –, the study of this scene shows that dynamics of contrast and balance between strength and softness lie at the core of the rhetoric of disturbance which conducts the representation of fury.

Made available in DSpace on 2016-04-28T14:16:40Z (GMT). No. of bitstreams: 1 Marcelo Akira Hueda.pdf: 931223 bytes, checksum: ed10fcfcb79a8f804f3accfcea991962 (MD5) Previous issue date: 2009-05-18 / Secretaria da Educação do Estado de São Paulo / Published anonymously in 1844, the book Vestiges of the natural history of creation triggered one of the greatest public debates which took place in the 19th century. Its author Robert Chambers proposed the transformation of living beings and the origin of new species by natural causes. The first aim of this dissertation is to describe some evolutionary concepts presented in the book. The second one is to compare them to the final version of Lamarck s theory on the progression of animals. This dissertation contains an introduction and four chapters. Chapter 1 discusses the evolutionary precedents and the general context in which Chambers presented his views concerning the transmutation of species. It also describes his career and professional interests. Chapter 2 deals with Chambers main evolutionary ideas. Chapter 3 provides a comparison between Chambers' and Lamarck's views, showing their similarities and differences. Chapter 4 offers some final remarks on the subject. This study led to the conclusion that although several similarities between Chambers' and Lamarck's evolutionary ideas may be found in some respects, such as gradualism, progression, uniformitarism, natural laws and no interference of God in natural processes, there were also some relevant differences such as the way in which they attempted to provide a foundation for their theories. Whereas Chambers presented many arguments using the fossil records as well as some other ones related to rudimentary organs and embryology, Lamarck made scarce use of the fossil record for the foundation of his theory. Instead of this, he provided a huge mass of facts showing the existence of a progression of the great taxonomical groups of animals. The arrangement of those groups in a progressive scale, however, did not provide an empirical foundation for what had happened in time. On the other hand, Chambers presented laws different from Lamarck's. However, although he did not propose a law dealing with the increase of the complexity of the great groups or individuals as Lamarck did, this idea permeated all of Chambers' ideas on the transmutation of species / Publicado anonimamente em 1844, o livro Vestiges of the natural history of creation desencadeou uma das maiores discussões públicas que ocorreram durante o século XIX. Seu autor, Robert Chambers, defendeu a transmutação dos seres vivos e a origem de novas espécies através de causas naturais. O primeiro objetivo desta dissertação é descrever algumas concepções evolutivas apresentadas neste livro e o segundo é compará-las à versão final da teoria da progressão dos animais de Lamarck. Esta dissertação contém uma introdução e quatro capítulos. O capítulo 1 discute os precedentes evolutivos e o contexto geral no qual Chambers apresentou suas idéias sobre a transmutação das espécies, tratando também de sua carreira e interesses profissionais. O capítulo 2 lida com alguns aspectos das concepções evolutivas de Chambers. O capítulo 3 oferece uma comparação entre as concepções de Chambers e Lamarck mostrando suas similaridades e diferenças. O capítulo 4 apresenta algumas considerações sobre o que foi discutido nos capítulos anteriores. Este estudo levou à conclusão de que embora possam ser detectadas diversas semelhanças entre alguns aspectos das concepções evolutivas de Chambers e as concepções evolutivas de Lamarck, tais como o gradualismo, a progressão, o uniformitarismo, as leis naturais e a não intervenção divina nos processos naturais, há também diferenças tais como o modo pelo qual eles procuraram fundamentar suas teorias. Enquanto Chambers apresentou exemplos obtidos principalmente a partir do registro fóssil e alguns relacionados à presença de órgãos rudimentares e à embriologia, Lamarck fez pouco uso do registro fóssil para fundamentar sua teoria. Em vez disso, forneceu uma grande massa de fatos mostrando a existência de uma progressão entre os grandes grupos de animais. O arranjo desses grupos em uma escala progressiva, entretanto, não proporcionou uma fundamentação empírica para o que ocorreu em termos cronológicos. Por outro lado, Chambers apresentou leis diferentes das apresentadas por Lamarck. Entretanto, apesar de não propor uma lei tratando da tendência para o aumento de complexidade existente na natureza em relação aos grandes grupos ou indivíduos como Lamarck, esta idéia permeou as concepções de Chambers sobre a transmutação das espécies

Ce mémoire porte sur la représentation de la fureur dans la tragédie en musique "Roland" de Philippe Quinault et Jean-Baptiste Lully, créée en 1685. Il cherche à préciser, dans une perspective historique et rhétorique, les moyens littéraires, musicaux et scéniques par lesquels sont rendus les excès du personnage furieux sur la scène classique du second XVIIe siècle. Le premier chapitre vise à rassembler les figures mythiques de la fureur dans une perspective d’ordre historique, des origines antiques aux diverses reprises dramatiques du répertoire français, en passant par la célèbre épopée de l’Orlando furioso, rappelant ainsi les bases de la topique de la fureur. Il s’intéresse également au développement d’une esthétique de la fureur propre au genre dramatique, ainsi qu’à son rapport au sublime, idéal d’expression classique. Guidé par la question de la représentation et de ses effets sur le spectateur, le second chapitre propose une analyse rhétorique de la scène de fureur dans Roland. L’étude de cette scène en fonction des différentes parties de la rhétorique – inventio, dispositio, elocutio et actio – démontre qu’une dynamique de contraste et d’alternance entre force et douceur se situe au cœur de la rhétorique du dérèglement qui conduit les représentations de la fureur. / This dissertation addresses the representation of fury in Jean-Baptiste Lully and Philippe Quinault’s 1685 opera, Roland. It seeks to define the rhetorical means through which fury is conveyed on the classical stage of the second half of the XVIIth century, whether they be found in the music, text or staging. The first chapter considers the mythological figures of fury in a historical perspective, from ancient origins to the famous Orlando furioso and its numerous reinterpretations in the French dramatic repertoire, therefore gathering the basis of the topic of fury. This section also addresses the development of the aesthetics of fury, and its relation to the sublime ideal of classical expression. Guided by the idea of performance and of its effects on the audience, the second chapter studies Roland’s wrath in a rhetorical perspective. Following the traditional rhetorical divisions – inventio, dispositio, elocutio and actio –, the study of this scene shows that dynamics of contrast and balance between strength and softness lie at the core of the rhetoric of disturbance which conducts the representation of fury.

A Place In Between tells the story of the Old Northwest through a French family who lived in Quebec and on the Wabash valley from the 1660s through the 1860s. The Brouillette family illustrates the rise and fall of a cultural and geographical middle ground forged by whites and Algonquian-speaking Indians of the Great Lakes region. The Woodland tribes discussed include the Miami, Wea, Piankashaw, Shawnee, Potawatomi, Delaware and Ottawa. The white participants of this middle ground were primarily French, but were joined at times by certain English, Scottish, Irish and Americans.The middle ground and trade culture created a people of mixed heritage called metis by the French, which means mixed-blood. Because of their place between cultures metis often acted as arbitrators of culture. They often found employment as interpreters, scouts or in the fur trade. The fall of the middle ground included the loss of a valuable Indian country to native people, as well as a shift from a rich cultural interchange to a socially and politically inferior status for the tribal people of the central Great Lakes.This story traces the lives of three main characters: Michel Brouillette, the elder and younger who were both traders; and the French-Miami son, Tahquakeah. Flashbacks to French ancestors illustrate the early creation of the middle ground through trade and military alliances. / Department of History

Christoph Willibald Gluck’s opera Armide (1777) is an anomaly within the context of his eighteenth-century operatic reform. While all of Gluck’s other libretti had been written as an embodiment of the operatic reform, including his Italian works Orfeo ed Euridice (1762) and Alceste (1767) in addition to the French operas Iphigénie en Aulide (1774) and Iphigénie en Tauride (1779), Armide was based upon the seventeenth-century libretto that Phillipe Quinault had written for Jean-Baptiste Lully, the founder of French tragédie lyrique. The use of Quinault’s libretto drew a direct comparison not only between Gluck and Lully, but also between Gluck and traditional French opera. Setting Armide also required Gluck to incorporate many traditional elements of tragédie lyrique absent in the operatic reform, such as divertissement and ballet. Armide’s departure from the tenets of the reform were so significant that they were criticized by Gluck’s French librettist François-Louis Gand LeBland Du Roullet, who found particular fault with the opera’s lack of dramatic veracity. It is the very incongruity of Armide—its utilization of an antiquated libretto—that makes it key to understanding Gluck’s conception of eighteenth-century opera. Armide provides the best opportunity to explore how Gluck amalgamated the traditional forms and styles of French opera with the goals of Viennese operatic reform. Drawing out connections between tragédie lyrique and the precepts of his reform, Gluck demonstrated the composer’s role in strengthening and clarifying the reform qualities as expressed by the libretto. Through musical analysis, this thesis demonstrates that Armide maintains the musical characteristics and dramatic musical construction of Gluck’s earlier reform operas. It also illustrates that while Gluck honoured Lully’s conception of tragédie lyrique, he did not hesitate to improve what he saw as the faults of the earlier operatic style. Gluck’s juxtaposition of the Italian and French operatic traditions in Armide elucidates his creation of supranational opera. Superseding and encompassing both the French and Italian national styles, Gluck enlivened the operatic traditions of both countries while remaining true to his own dramatic and musical conception of opera.

Au XVIIe siècle, commerce et guerre étant étroitement liés (Pocock), les auteurs de cette époque accordent une grande importance aux liens entre conflits et monnaie. Cette thèse met en évidence comment la conception de la monnaie, sous forme de métaux précieux, influence la manière d’envisager la question de l’enrichissement chez Colbert, Vauban et Locke. Elle montre également quelles sont les implications en matière de politiques économiques et de relations sociales. Ces auteurs développent ainsi une pensée pouvant être qualifiée«d’hétérodoxe», en opposition à l’orthodoxie d’Adam Smith qui critique vivement leur question d’une quantité de monnaie nécessaire au fonctionnement du système économique. Dans ce cadre, quatre questions sont traitées. La première consiste à mettre à jour les effets sociaux d’une économie monétaire : l’apparition d’un conflit entre propriétaires terriens et détenteurs de monnaie et la création du gouvernement civil. La seconde permet de souligner le lien entre les relations sociales et les politiques monétaires à mener – à savoir favoriser l’intérêt des marchands ou maintenir une stabilité sociale? La troisième question aborde alors le rôle du gouvernement et des leviers dont il dispose. Le gouvernement doit garantir une quantité de monnaie appropriée, maintenir une balance commerciale excédentaire et faire circuler la monnaie, via une stabilité monétaire ou encore une réforme fiscale. Enfin la dernière question permet d’appréhender le rôle du commerce international. Celui-ci, n’est qu’un moyen de faire circuler la richesse créée au niveau national, selon ces auteurs. Par ailleurs, seul le commerce international permet l’entrée de monnaie sous la forme de métaux précieux. / In the 17th century, trade and war are deeply related (Pocock). Thus, authors from thatperiod gave a great importance to the links between conflicts and money. This PhD aims at understanding how the idea of money, as a precious metal, influences Colbert’s, Vauban’s and Locke’s thinking about the question of the enrichment. It further studies the implications of this approach for economic policy and social relations. These authors can be considered as« heterodox » in opposition to the orthodoxy of Adam Smith who sharply criticized their investigation of an appropriate quantity of money needed to ensure the good functioning of an economic system. In this framework, four questions are analysed. The first one discusses the social effects of a monetary economy in the form of the appearance of a conflict between the landed men and the moneyed men, that ultimately leads to the establishment of a civil government. The second one underlines the link between social relations and the required monetary policies: shall measures favour merchants’ interest or shall they maintain social stability? This brings the reader to the third question, which is to define the role of the government and its means of action. The government must ensure that an appropriate quantity of money, maintain a trade surplus and make money circulate. This can be achieved through a monetary stability or by implementing fiscal reform. Finally, the last question revolves around the role of international trade. According to these authors, it is mainly a mean allowing wealth which is created inside the country, to circulate. Besides, international trade is the only way to have inflows of precious metal, thus increasing the quantity of money in the country.

No description available.

ix, 288 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / While the impact of Darwin's theory of evolution on Victorian and modernist literature has been well-documented, very little critical attention has been paid to the influence of Lamarckian evolutionary theory on literary portrayals of human progress during this same period. Lamarck's theory of inherited acquired characteristics provided an attractive alternative to the mechanism and materialism of Darwin's theory of natural selection for many writers in the late-nineteenth and early-twentieth centuries, particularly those who refused to relinquish the role of the individual will in the evolutionary process. Lamarckian rhetoric permeated an ideologically diverse range of discourses related to progress, including reproduction, degeneration, race, class, eugenics, education, and even art. By analyzing the literary texts of Olive Schreiner, G.B. Shaw, and W.B. Yeats alongside their polemical writing, I demonstrate how Lamarckism inflected these writers' perceptions of the mechanism of human evolution and their ideas about human progress, and I argue that their work helped to sustain Lamarck's cultural influence beyond his scientific relevance. In the dissertation's introduction, I place the work of these three writers in the context of the Neo-Darwinian and Neo-Lamarckian evolutionary debates in order to establish the scientific credibility and cultural attractiveness of Lamarckism during this period. Chapter II argues that Schreiner creates her own evolutionary theory that rejects the cold, competitive materialism inherent in Darwinism and builds upon Lamarck's mechanism, modifying Lamarckism to include a uniquely feminist emphasis on the importance of community, motherhood, and self-sacrifice for the betterment of the human race. In Chapter III, I demonstrate that Shaw's "metabiological" religion of Creative Evolution, as portrayed in Man and Superman and Back to Methuselah , is not simply Bergsonian vitalism repackaged as a Neo-Lamarckian evolutionary theory but, rather, a uniquely Shavian theory of human progress that combines religious, philosophical, and political elements and is thoroughly steeped in contemporary evolutionary science. Finally, Chapter IV examines the interplay between Yeats's aesthetics and his anxieties about class in both his poetry and his 1939 essay collection On the Boiler to show how Lamarckian modes of thought inflected his understanding of degeneration and reproduction and eventually led him to embrace eugenics. / Committee in charge: Paul Peppis, Chairperson, English; Mark Quigley, Member, English; Paul Farber, Member, Not from U of O; Richard Stein, Member, English; John McCole, Outside Member, History

Made available in DSpace on 2016-06-02T19:39:02Z (GMT). No. of bitstreams: 1 2344.pdf: 10544774 bytes, checksum: 93725fbde8755139e67f8bd4a9be77d6 (MD5) Previous issue date: 2009-02-27 / Financiadora de Estudos e Projetos / This Master s Dissertation introduces a dialogue between music and dance languages in a collective music practice context, more specifically in a community orchestra. With this purpose, the researcher, dancer and dance educator shares her own experiences in the field of Music Education and discusses the interaction developed with some members of the Experimental Orchestra of the Federal University of São Carlos (São Paulo state). The aim of this research is to discuss how experiences and reflections of dance activities can contribute for self perception, perception of the other and perception of music practice in order to benefit humanizing Education. The research includes eight movement themes related to the Choreological study proposed by Preston-Dunlop. They are: Body - whole and parts; Space kinesphere; Space octahedron; Space Shape; Space Projection; Dynamics Time; Dynamics Weight; and Relationships. The interaction meetings included experiences and reflections of dance activities. The methodological approach for the interaction was the context-based Art in Education/ Dance which articulates authors as Paulo Freire and Rudolf Laban main references in this research as well as Fiori, Gainza, Kater, Koellreutter and Marques. Results discuss the speeches from conversation circles proposed at the end of each interaction meeting. Presented in a discursive way, results include the researchereducator s reflections articulated with theoretical references, and point out the contributions of this process for self perception, perception of the other and perception of music collective practice. / Esta dissertação de mestrado apresenta um diálogo entre as linguagens da música e da dança em contexto de prática musical coletiva, mais especificamente em uma orquestra comunitária. Para isso a pesquisadora, dançarina e educadora de dança compartilha suas experiências de inserção na Educação Musical e discute o processo de intervenção realizado com alguns integrantes da Orquestra Experimental da UFSCar Universidade Federal de São Carlos (SP) no primeiro semestre de 2008. A investigação qualitativa teve como objetivo discutir como a vivência e reflexão de atividades em dança podem contribuir para a percepção de si mesmo, do outro e do significado da prática musical em contexto de Orquestra Comunitária de modo a se constituir em uma Educação Humanizadora. A pesquisa aborda sete elementos do movimento relacionados ao estudo coreológico do movimento proposto por Valerie Preston-Dunlop. São eles: Corpo - partes e todo, Espaço - kinesfera, Espaço - Octaedro, Espaço Forma, Espaço - Projeção, Dinâmica -Tempo e Dinâmica - Peso. Estes temas foram selecionados pela pesquisadora a partir da sua inserção no campo onde teve oportunidade de identificar interfaces relevantes para a prática musical do grupo envolvido. Os encontros para intervenção incluíram vivência e reflexão de atividades de dança. Como base metodológica da intervenção foi adotada a Metodologia de Ensino Arte no Contexto/ Dança, que articula autores como Paulo Freire e Rudolf Laban referências centrais deste trabalho, bem como Fiori, Gainza, Kater, Koellreutter e Marques. Os procedimentos utilizados para registro dos dados foram diário de campo e filmagem. Os resultados discutem as falas presentes nas rodas de conversa propostas ao final de cada encontro de intervenção. Apresentados de forma discursiva, trazem reflexões da educadora-pesquisadora à luz do referencial teórico abordado ao longo do trabalho e apontam as contribuições desse processo para percepção de si mesmo, do outro e da prática musical coletiva.

Anne-Louis Girodet Trioson's Portrait of C.[itizen] Jean-Baptiste Belley, ex-representative of the Colonies, is evidence of the changing ideological situation during the French Revolution. Girodet was one of the most learned and accomplished students of Jacques-Louis David who strove to surpass his teacher in two ways: 1) by painting David's Neoclassical style so well that his handling surpasses that of his master, and 2) by choosing subject matter never before explored by David. Girodet accomplishes both within this work. The Neoclassical handling of the image has been achieved with amazing clarity, and the central figure of an identified black man had never been displayed in the Salon previously. The work was without precedent and without progeny. It successfully transcends the boundaries of portraiture into the highest tier of the Academic hierarchy: History Painting. Lacking in the existing scholarship of this portrait as history painting is that the work is successful in fulfilling a didactic and moralizing function, bearing significance to the general public. Scholars have hitherto ignored the striking visual similarities between this and Grand Tour portraits of Englishmen earlier in the century. This portrait of Belley calls into question accepted post-colonial readings by not adhering to a strict Orientalist interpretation. His hybrid nature nullifies readings that he is merely a black man posed as a French one. Belley cannot be seen as simply African, nor Haitian, nor French, nor military man, nor politician; each of these aspects of his being add up to his individual identity. It was because of Belley's race that he was chosen for this portrait; his complex nature creates a dramatic painting relevant to varied members of the general public, his status as a black man allows for a politically relevant subject worthy of history painting, and the choice of Girodet's model of Grand Tour portraiture with its connotations of education, travel and social status—when applied to a black man—make this a revolutionary painting unparalleled in history.