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A presente pesquisa contempla a teoria e a prática da música instrumental do século XVIII, sobretudo na Inglaterra, sob o ponto de vista da obra teórica do violinista, compositor e tratadista italiano Francesco Geminiani (1687-1762). O trabalho objetiva comentar e traduzir - pela primeira vez em língua portuguesa - a integral da obra teórica desse autor: Rules for Playing in a True Taste (c.1748), A Treatise of Good Taste in the Art of Musick (1749), The Art of Playing on the Violin (1751), The Art of Accompaniament (1756/7), Guida Armonica (1756/8), The Harmonical Miscellany (1758) e The Art of Playing the Guitar or Cittra (1760). A escolha de Geminiani se deve ao fato de seus sete escritos se alinharem a importantes preceptistas filosóficos, como Batteux, Montesquieu e Hume, e musicais, como Quantz, C. P. E. Bach e L. Mozart. Além disso, dissertam sobre aspectos importantes da música setecentista sob os pontos de vista prático (como a performance em instrumentos como violino, violoncelo, cravo - com ênfase no baixo contínuo -, cistre e traverso) e teórico (com discussões sobre o ensino e o aprendizado de harmonia, além de discutir, em toda sua obra, o conceito de bom gosto em música). As análises e estudos oferecidos em forma de comentários, bem como as traduções aqui presentes não só permitirão o leitor atual a observar a obra de Geminiani inserida em seu contexto histórico-filosófico-musical adequado, mas também fornecerão ferramentas importantes para pesquisas posteriores sobre o tratadista e a música do século XVIII. / The current study addresses the theory and practice of instrumental music of the eighteenth century, especially in England, from the perspective of the theoretical work of the Italian violinist, composer, and writer Francesco Geminiani (1687-1762). The aim of the present study was to comment and translate - for the first time into the Portuguese language - the complete theoretical works by this author: Rules for Playing in a True Taste (c. 1748), A Treatise of Good Taste in the Art of Musick (1749), The Art of Playing on the Violin (1751), The Art of Accompaniment (1756/7), Guida Armonica (1756/8), The Harmonical Miscellany (1758), and The Art of Playing the Guitar or Cittra (1760). Geminiani was chosen because his seven written works are aligned with important preceptists of philosophy, such as Batteux, Montesquieu, and Hume, and of music, such as Quantz, C. P. E. Bach, and L. Mozart. In addition, the discourse about important practical elements (the playing of instruments such as the violin, cello, or harpsichord - with an emphasis on basso continuo -, cittern, and traverso) and theoretical aspects (including discussions about teaching and learning harmony, and the concept of good musical taste) of eighteenth century music. The analyses and studies, provided as comments, and the translations in the present study will not only allow current readers to view Geminiani\'s work within its adequate historical-philosophical-musical context, but will also provide important tools for subsequent studies on Geminiani and the music of the eighteenth century.

This is a chronology of Shakespeare and his family from 1530 to 1623, collecting key dateable events from the documentary records associated with the subjects in this period. Annotations are provided in extensive detail to explain the issues surrounding the documents used, extablishing their provenances, exploring problematic features, and situating the records relative to one another and the wider cultural background. One of the primary contributions to the study is a new integrated analysis of the dates of Shakespeare's plays, helping to understand the nature of his creative development. Other prominent findings surround evidence for the date of Shakespeare's birth which has previously eluded attention, and the authorship of the Poetical Essays appended to a work by Robert Chester. Analysis of the implications of Chettle's authorship in a Groatsworth of Wit, and of early modern "game" terminology, further indicate the diversity of subjects covered. Due to the complex use of multiple layers of documentary evidence, the study has been constructed using methods which focus on the dependencies between information and the balance of probabilities amongst alternative theories. Some of these methods are taken from a blend of creativity. The aim has been to facilitate the endeavour engaged in by Edmond Malone, to have "every obscurity elucidated."

Philosophy has always turned to literature, but its engagement with Shakespeare in particular has been problematic. Stanley Cavell and Jacques Derrida do better than most other philosophical readers to meet the three criteria for worthwhile philosophical engagement with Shakespeare recently outlined by Martha Nussbaum: namely, that it should actually do philosophy, that it should illuminate the world of the plays, and that it should account for why literature can do something for philosophy that philosophy cannot do for itself. Cavell's and Derrida's acts of reading Shakespeare are, however, marked by a seemingly unphilosophical aural sensitivity. This thesis argues that we will only begin to grasp their singular and radical understanding of the relationship between literature and philosophy once we get to the bottom of these auricular preoccupations. The first part will show that in Cavell's readings of Shakespeare the figure of the ear and actual process of listening not only mark “separateness,” but are also instrumental in helping us to “acknowledge.” Although Derrida does not listen for separateness but différance, the second part argues that for him too the ear both actually and figurally inaugurates an act of reading which not only blurs the borders between the philosophical and the literary, but also fundamentally changes the way we relate the one to the other. The way Derrida and Cavell listen to Shakespeare, therefore, suggests three criteria to be added to Nussbaum's. First, the philosopher's act of reading must resonate beyond the conventional boundaries of philosophy and literature. Second, a philosopher's account needs to be based on a textual model describing how the very encounter between text and reader can become part of the philosophical endeavour. Third, this realisation must be internalised in the very way philosophy is written.

A presente pesquisa contempla a teoria e a prática da música instrumental do século XVIII, sobretudo na Inglaterra, sob o ponto de vista da obra teórica do violinista, compositor e tratadista italiano Francesco Geminiani (1687-1762). O trabalho objetiva comentar e traduzir - pela primeira vez em língua portuguesa - a integral da obra teórica desse autor: Rules for Playing in a True Taste (c.1748), A Treatise of Good Taste in the Art of Musick (1749), The Art of Playing on the Violin (1751), The Art of Accompaniament (1756/7), Guida Armonica (1756/8), The Harmonical Miscellany (1758) e The Art of Playing the Guitar or Cittra (1760). A escolha de Geminiani se deve ao fato de seus sete escritos se alinharem a importantes preceptistas filosóficos, como Batteux, Montesquieu e Hume, e musicais, como Quantz, C. P. E. Bach e L. Mozart. Além disso, dissertam sobre aspectos importantes da música setecentista sob os pontos de vista prático (como a performance em instrumentos como violino, violoncelo, cravo - com ênfase no baixo contínuo -, cistre e traverso) e teórico (com discussões sobre o ensino e o aprendizado de harmonia, além de discutir, em toda sua obra, o conceito de bom gosto em música). As análises e estudos oferecidos em forma de comentários, bem como as traduções aqui presentes não só permitirão o leitor atual a observar a obra de Geminiani inserida em seu contexto histórico-filosófico-musical adequado, mas também fornecerão ferramentas importantes para pesquisas posteriores sobre o tratadista e a música do século XVIII. / The current study addresses the theory and practice of instrumental music of the eighteenth century, especially in England, from the perspective of the theoretical work of the Italian violinist, composer, and writer Francesco Geminiani (1687-1762). The aim of the present study was to comment and translate - for the first time into the Portuguese language - the complete theoretical works by this author: Rules for Playing in a True Taste (c. 1748), A Treatise of Good Taste in the Art of Musick (1749), The Art of Playing on the Violin (1751), The Art of Accompaniment (1756/7), Guida Armonica (1756/8), The Harmonical Miscellany (1758), and The Art of Playing the Guitar or Cittra (1760). Geminiani was chosen because his seven written works are aligned with important preceptists of philosophy, such as Batteux, Montesquieu, and Hume, and of music, such as Quantz, C. P. E. Bach, and L. Mozart. In addition, the discourse about important practical elements (the playing of instruments such as the violin, cello, or harpsichord - with an emphasis on basso continuo -, cittern, and traverso) and theoretical aspects (including discussions about teaching and learning harmony, and the concept of good musical taste) of eighteenth century music. The analyses and studies, provided as comments, and the translations in the present study will not only allow current readers to view Geminiani\'s work within its adequate historical-philosophical-musical context, but will also provide important tools for subsequent studies on Geminiani and the music of the eighteenth century.

This study presents a picture of Martin Luther as a pioneer in mass communications. The text is divided into four sections and the conclusion; Martin Luther: man and his world, Luther and the German printing press, propaganda devices in Luther's Primary Reformation Treatises of 1520, and, propaganda and mass communications in Luther's liturgical reforms, religious broadsides, and preaching. The final remarks pertain to Luther's effect upon the reordering of society in the Western world.

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Dans le sillage des révolutions intellectuelles qui marquent l’avènement de l’époque moderne, Sir Kenelm Digby, catholique anglais, poursuit avec ardeur la connaissance du monde matériel et spirituel au gré des événements politiques qui ponctuent son époque tourmentée. À Londres comme à Paris où il est exilé, mais aussi au fil de ses nombreux voyages, Digby communique inlassablement des livres, échange des idées, et correspond sans relâche avec les savants de son époque comme Descartes, Hobbes, et Mersenne. Au sein du vaste réseau européen que constitue la jeune République des Lettres, il occupe une place de choix qui lui permet de produire une synthèse des idées en vogue. Digby participe à la sensibilité baroque que l’on définit non seulement par l’expression d’une crise liée à l’instabilité du monde et à la contradiction des choses mais aussi par la tentative de surmonter cette crise. Par ses intérêts variés pour l’alchimie, l’atomisme, la logique et la métaphysique, il tente de rendre compte, de façon baroque, du fonctionnement du monde et de l’homme afin d’en permettre la maîtrise et le gouvernement. Dans Two Treatises, il adopte et adapte l’hypothèse atomiste qui lui permet de dépeindre un monde fondamentalement chaotique, en changement permanent et agité d’une myriade de collisions invisibles qui expliquent la gravité et le magnétisme, mais aussi la reproduction ou la sympathie. Son approche démonstrative se veut un rempart contre la crise sceptique de son temps, et il ne cesse d’affirmer que la certitude est atteignable par les seuls moyens humains. Soucieux de prosélytisme, il met en relief la qualité orale de la tradition catholique et justifie la résurrection des corps, amenant au premier plan le sujet et ses perceptions, mais aussi la métamorphose comme principe explicatif clé. / In the wake of the intellectual revolutions of the early modern period, Sir Kenelm Digby, an English Catholic, endeavoured to increase the knowledge of the world, both physical and spiritual, against a backdrop of political turmoil. From London as from Paris, where he was in exile, the well-travelled Sir Kenelm sent books, communicated, and discussesd ideas tirelessly with the main thinkers of the time such as Descartes, Hobbes and Mersenne. His prominent place within the dense network of the incipient Republic of Letters allowed him to produce a seminal synthesis of the ideas then in circulation.Digby partook in the baroque sensitivity that we can define as the expression of a crisis linked to instability and contradiction, as well as the attempt to overcome it. Delving into alchemy, atomism, logic, and metaphysics, he strove to account for the secret workings of the world and of man in order to enable their mastery and government. In Two Treatises, he adopted and adapted the atomist hypothesis that allowed him to depict a deeply chaotic world, ridden with permanent change and fraught with innumerable and invisible clashes that explained all physical phenomena such as gravity, magnetism, generation, and sympathy. He aimed to proceed in a demonstrative manner so as to stave off the rampant crisis of scepticism, and he hammered through the idea that certainty was achievable by mere human means. In a proselyte effort, he tackled burning issues in the wake of the Reformation, promoting the oral quality of the Catholic tradition and the resurrection of bodies, while bringing forward the thinking individual and his perceptions, as well as the concept of metamorphosis, as key explanatory principles.

Pablo Minguet y Yrol's Academia Musical of 1752, M891 in the Bíblioteca Nacional of Madrid, is a loosely organized collection of tutors for thirteen musical instruments: guitar, tiple, mandola, cittern, bandurria, psaltery, clavichord [i.e., keyboard], organ, harp, violin, transverse flute, recorder, and flageolet. The tutors concerning the guitar and related instruments are by far the most comprehensive; topics covered include basic playing technique, figured-bass accompaniment, and notation, both mensural and tablature. Most musical examples are given in both types of notation. The thesis is a complete translation of the Academia Musical, including the texts of the illustrations, with an introductory commentary giving the historical background of music education in eighteenth-century Spain, a brief review of European musical-instrument tutors in general, and an analysis of Minguet's tutors in particular.