This thesis is a reassessment of Simon Nicolas Henri Linquet, a thinker of originality and a trenchant critic of the ancien régime of eighteenth century France. It purports to show a unity within Linquet's thought obscured by previous conflicting interpretations which portray Linquet variously as a conservative and an apologist of absolute monarchy, a reactionary and advocate of slavery and despotism, or a strident and perspicacious critic of French society whose insights have earned for him a place in the socialist tradition. In the belief that this disagreement as to Linquet's place in the intellectual life of eighteenth century France had arisen from a tendency to abstract his thought from its context, I have examined it as a response to the inadequacies of French jurisprudence (of which his training as a barrister made him aware), to the ambitions of the parlements of France, to the physiocratic program of economic reform, to the philosophy of the enlightenment and the activities of its proselytizers. Moreover, in thus weaving Linquet's thought back into the social political, and intellectual fabric of eighteenth century France I have addressed myself, in particular, to that body of interpretation which has portrayed Linquet as a precursor of nineteenth century socialism. From this study I have concluded that social concern is not the exclusive preserve of ideologies which assume the existence of inalienable human rights. Those elements of Linquet's thought which have prompted others to include him in the socialist tradition are compatible with the principles of absolute monarchy / Arts, Faculty of / History, Department of / Graduate

This document focuses on the formal structures and tonal language of four trios that include horn by American composer Simon A. Sargon: "Huntsman, What Quarry?" Two Poems of Edna St. Vincent Millay for Soprano, Horn, and Piano (1990); Trio for Horn, Violin, and Piano: "The Legacy" (1993); A Clear Midnight: Six Songs Set to Poems of Walt Whitman for Baritone, Horn, and Piano (1996); and Sonic Portals: Trio for Oboe, Horn, and Piano (2003). Comparisons with precedent works of like instrumentation demonstrate that Sargon's trios, though musically unique, merit a place alongside masterworks like Carl Reinecke's Trio, op. 188, for oboe, horn, and piano; Franz Schubert's Auf dem Strom for soprano, horn, and piano; and especially Johannes Brahms's Trio, op. 40, for violin, horn, and piano. Other precedent, contemporary, and related works are also mentioned. Sargon's ability to write idiomatically for the horn and other instruments is discussed, and consideration is given to some elements required to create a good performance of Sargon's chamber music. Included are a brief biography of Simon Sargon, letters from colleagues with whom he has worked closely, lists of his instrumental music and recordings of some of these pieces, and lists of other works in the genres discussed herein.

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Simon Somerville Laurie was born in Edinburgh on 13th November 1829. He was the eldest son of James Laurie, who was at the time chaplain to Edinburgh Royal Infirmary, and Jean Somerville, herself the daughter of a presbyterian minister. Laurie was educated at the Edinburgh High School and subsequently at Edinburgh University. He graduated from Edinburgh University in 1849 and spent five years as a private tutor before returning to Edinburgh to take up, in 1855, the post of secretary to the education committee of the General Assembly of the Church of Scotland. He held this post for fifty years and added to it two other official posts: visitor and examiner for the trustees of the Dick bequest, from 1856 until 1907, and professor at the University of Edinburgh, as the first holder of the Bell Chair in the Theory, History and Art of Education, from 1876 until 1903. Laurie was also invited to write reports for the Merchant Company of Edinburgh pointing the way to reform of their endowed schools, to give evidence to a number of royal commissions and parliamentary inquiries, and to act as secretary to one royal commission, the Colebrooke Commission, and to the Association for the Promotion of Secondary Education in Scotland. He also wrote books and articles and gave numerous lectures, many of which were subsequently published. Laurie was thus both a leading theorist and closely concerned with almost all of the practical developments in the provision of education in Scotland for half a century. In an anonymous obituary published in 1910 the author described Laurie as ‘a singularly attractive personality’ and suggested that a full account of his influence should be written. With the exception of a brief chapter on Laurie in Alexander Morgan’s book, The Makers of Scottish Education published in 1929, this never happened. There is, however, a doctoral thesis lodged in the special collections of Edinburgh University library on Laurie which was submitted in 1949 by H. M. Knox entitled The Educational Writings of Simon Somerville Laurie MA, LLD, FEIS, FRSE (1829-1909) First Bell Professor of The Theory, History, and Art, of Education in the University of Edinburgh (1876-1903). It is evident from even this very brief sketch of Laurie's work that he was a man of considerable energy with an appetite for hard work. This work can be conveniently divided into three interdependent categories. As a philosopher he published three major philosophical works: Ethica, under the pseudonym ‘Scotus Novanticus’ in 1885, Metaphysica Nova et Vetusta, under the same pseudonym, in 1889 and Synthetica: being meditations epistemological and ontological in 1906. He wrote many books and articles on educational topics, some theoretical and some commentaries on the issues of the day. And as an administrator he was practically involved with the inspection of schools, the running of training colleges and the writing of reports and memorials to government.

Étudier l’événement historique dans l’œuvre de Claude Simon sous un nouvel angle, voilà l’objectif de cette thèse. Pour ce faire, l’analyse de l’événement historique comprend l’attente, c’est-à-dire qu’elle couvre la période qui précède l’événement en soi. Ainsi, il s’agit d’étudier la place de l’attente dans l’œuvre romanesque simonienne. Depuis un nouvel horizon d’attente exemplifié par la Révolution française jusqu’à ne plus avoir d’attentes dans l’enfer de la Deuxième Guerre mondiale, l’écriture de l’événement historique comprend aussi son attente. Et partant, l’individu est pris dans une Histoire qui le dépasse. Se concentrant sur quelques romans de Claude Simon, cette thèse analyse sur la relation entre l’attente, les événements historiques et l’écriture. Elle considère moins l’événement en soi que ce qui le précède. De l’Histoire nationale d’un pays à l’histoire traumatique d’un individu, cette thèse souligne combien l’expérience personnelle de l’événement historique est influencée par l’attente. Enfin, à travers ses romans, Claude Simon décrit la déception d’une expérience immédiate de l’événement historique, déception provoquée par une conception de l’Histoire rejetée depuis les événements abominables qui parsèment le XXe siècle. Ainsi, la représentation de l’Histoire est constamment mise en cause dans les romans de Claude Simon, ce qui nous conduit à établir une vision simonienne de l’Histoire. / Through a selection of Claude Simon’s novels, this thesis aims to consider the historical event from an innovative point of view. In order to do so, the historical event will be analysed not as something that has already happened, but as something that is still to come. In other words, if Claude Simon writes the historical event from the writing present than the period preceding the event must also be considered in this act. As such, Claude Simon describes, more often than not, the interval before the historical event, rather than the historical event itself. However, in waiting there is also an expectation that something should happen in a certain way. And yet, expectations often lead to disappointment in Claude Simon’s novels. Based on historical representations from history books and famous paintings, a certain image of history is portrayed and subsequently deconstructed. This thesis analyses the manner in which Claude Simon develops his own vision of history based on his immediate experience of historicals events. From the French Revolution to the Second World War, Claude Simon shows us how an individual is caught up in a history that he can never fully understand. Therefore, this thesis aims to show the relationship between waiting, expecting, the historical event, the individual and writing. From a shared national history to that of one individual’s traumatic experience, this thesis underlines how much the past and the present are influenced by the notions of waiting and expectation. Hence, it is through his novels that Claude Simon shares his deception, provoked by a false conception of history, since rejected after the historical events of the 20th century.

This thesis examines the use of history, historical narratives and the relation to Venezuelan historical consciousness in Libro Rojo, a publication of The Unified Socialist Party of Venezuela (PSUV). It consists of four parts: an introduction, a declaration of principles, statutes and finally what is called the programmatical bases (bases programaticas) of the party. A starting point for this thesis is that this is an under prioritized area of research about the Bolivarian revolution in Venezuela. It aims to show the centrality of history in these fundamental documents of the biggest left-wing party in Latin America. The thesis finds that symbolically charged historical figures – mainly national icons of Venezuela´s struggle for national liberation - are mobilized to back up contemporary aspirations and influence public perception of what kind of future is possible and desirable. Libro Rojo structures the relationship between past, present and future in order to influence historical consciousness. It also finds that Libro Rojo constructs a vision of socialism which aims to show that the ideas and actions of Venezuela´s symbolically charged historical figures are compatible with the ideas of 19th and 20th century western Marxism. An illustration of this is the reference to Peruvian Marxist José Carlos Mariáteguí and his saying that socialism on the American continent can neither be an imitation nor a copy of foreign models, but a heroic creation of the people. Furthermore in Libro Rojo, the ideas of liberation theology, Christianity as well as "all universal and humanist thought" are evoked as foundations for the contemporary aspirations of the PSUV. The present is situated within a context of contemporary history in which themes such as the struggle of the peoples against neoliberalism and the threats to the survival of humanity due to climate changes, economic crisis and war are central. It describes a near future in which humanity will have a choice: between its salvation and flourishing through socialism, or its extinction through world capitalism.

Texte remanié de: Thèse de doctorat--Littérature comparée--Paris 10, 2006. Titre de soutenance : Mémoire, représentation, fiction : l'écriture de la mémoire dans l'oeuvre d'Antonio Lobo Antunes et de Claude Simon. / Bibliogr. p. 291-304. Index.

Thèse--Droit--Paris, 1968. / En appendice, choix de textes de Saint-Simon. Bibliogr. p. 265-276. Index.

Thesis (M.A.)--Catholic Theological Union, 1987. / Vita. Includes bibliographical references (leaves 137-138).

With the founding of the Paris Conservatory in 1795, a diversity of instructional methods for the teaching of harmony were used. Each theory instructor insisted upon using his own system; some relied heavily upon the theories of Rameau, while others used ideas based on eighteenth century German or Italian theorists. The Conservatory administration, realizing the need to unify theoretical instruction into a single method, formed a committee to evaluate the different harmonic systems available. After considering several treatises, including the theories of Rameau, the committee chose the Traité d'harmonie of Catel as the work best suited for their purposes. This investigation deals with Catel's synthesis of various theoretical principles, concentrating on his concise, often simplistic approach to harmonic theory. The major contribution of the Traité is the classification of chords into two categories: "natural harmony" and "artificial harmony." Catel believed that only one chord exists in harmony, the dominant ninth chord, which he derived from the first nine partials of the overtone series. From this chord, he formed the basic triads of "natural harmony," describing these chords as suspensions ("prolongations") of "natural harmony."