Este trabalho objetiva analisar alguns reflexos em torno das relações tecidas entre o Egito faraônico e a Núbia na antiguidade africana, focando especificamente na política expansionista faraônica no período da XVIII dinastia, prelúdio do recorte denominado pela egiptologia de Reino Novo, em relação à Núbia, vizinha do Egito a sul e composta por reinos e chefaturas heterogêneos. Neste contexto, marcado pelo avanço egípcio a áreas geograficamente adjacentes sob desígnios de expansão e controle político, tanto o Egito quanto as áreas núbias viram-se imersas em novas realidades a partir da presença de egípcios nos territórios núbios bem como de núbios no espaço egípcio no período em questão. Foco desta análise, um exemplo destes reflexos de expansão faraônica na Núbia e presença núbia no Egito deu-se a partir da política egípcia de apresamento de filhos de chefes núbios na corte, com o intuito de educa-los aos moldes egípcios para que retornassem a seus locais de origem para governar de acordo com o faraó, sob conexões administrativas de convívio social. A partir de aportes que busquem compreender os limites e porosidades da imposição do domínio faraônico sobre a Núbia, almeja-se investigar na cultura material concernente a estes herdeiros núbios reflexos dos interstícios entre diferenças e engajamentos destes sujeitos sob deslocamentos em um cenário de movimentação cultural nas fronteiras do espaço núbio/egípcio da antiguidade africana.

This study of mural painting in southern India aims to change the received narrative of painting in South Asia not only by bringing to light a body of work previously understudied and in many cases undocumented, but by showing how that corpus contributes vitally to the study of South Indian art and history. At the broadest level, this dissertation reworks our understanding of a critical moment in South Asian history that has until recently been seen as a period of decadence, setting the stage for the rise of colonial power in South Asia. Militating against the notion of decline, I demonstrate the artistic, social, and political dynamism of this period by documenting and analyzing the visual and inscriptional content of temple and palace murals donated by merchants, monastics, and political elites. The dissertation consists of two parts: documentation and formal analysis, and semantic and historical analysis. Documentation and formal analysis of these murals, which decorate the walls and ceilings of temples and palaces, are foundational for further art historical study. I establish a rubric for style and date based on figural typology, narrative structure, and the way in which text is incorporated into the murals. I clarify the kinds of narrative structures employed by the artists, and trace how these change over time. Finally, I identify the three most prevalent genres of painting: narrative, figural (as portraits and icons), and topographic. One of the outstanding features of these murals, which no previous scholarship has seriously considered, is that script is a major compositional and semantic element of the murals. By the eighteenth century, narrative inscriptions in the Tamil and Telugu languages, whose scripts are visually distinct, consistently framed narrative paintings. For all of the major sites considered in this dissertation, I have transcribed and translated these inscriptions. Establishing a rubric for analysis of the pictorial imagery alongside translations of the text integrated into the murals facilitates my analysis of the function and iconicity of script, and application of the content of the inscriptions to interpretation of the paintings. My approach to text, which considers inscriptions to be both semantically and visually meaningful, is woven into a framework of analysis that includes ritual context, patronage, and viewing practices. In this way, the dissertation builds an historical account of an understudied period, brings to light a new archive for the study of art in South Asia, and develops a new methodology for understanding Nayaka-period painting. Chapters Three, Four, and Five each elaborate on one of the major genres identified in Chapter Two: narrative, figural, and topographic painting. My study of narrative focuses on the most popular genre of text produced at this time, talapuranam (Skt. sthalapurana), as well as hagiographies of teachers and saints (guruparampara). Turning to figural depiction, I take up the subject of portraiture. My study provides new evidence of the active patronage by merchants, religious and political elites through documentation and analysis of previously unrecorded donor inscriptions and donor portraits. Under the rubric of topographic painting I analyze the representation of sacred sites joined together to create entire sacred landscapes mapped onto the walls and ceilings of the temples. Such images are closely connected to devotional (bhakti) literature that describes and praises these places and spaces. The final chapter of the dissertation proposes new ways of understanding how the images were perceived and activated by their contemporary audiences. I argue that the kinesthetic experience of the paintings is central to their concept, design, and function.

This thesis examines the city of Rome as a primary context of British sociability and portrait identity during the period from 1740 to 1830. Part I considers the work of the portrait painter Pompeo Batoni. It examines the pictorial record of grand tourist sociability at Rome in the 1750s, questioning the complex articulation of nationality among British visitors, and the introduction of overt references to antiquity in the portraiture of Pompeo Batoni. It subsequently interrogates Batoni's use of the partially nude Vatican Ariadne sculpture in five portraits of male grand tourists, dating from Charles John Crowle in 1762, to Thomas William Coke in 1774. Part II of this thesis considers the realities of viewing the sculpted body at Rome, recreating the studios of sculptors Christopher Hewetson and Antonio Canova. It postis the studio space as a locus of sociability for British visitors to Rome, drawing on the feminine gaze in the form of the early nineteenth-century writings of Charlotte Eaton and Lady Murray. The final chapter moves from the focus on British sitters to examine sculpture by Antonio Canova, framing it within a wider discourse of masculinity and propriety. Thte reception of Canova's nude portrait sculpture of Napoleon Bonaparte and Pauline Borghese is considered as indicative of cultural anxieties stemming from new conceptions of gender.

No último quartel do século XVIII, com a assinatura do Tratado de Santo Ildefonso, diversas comissões são enviadas para a determinação local das fronteiras entre as possessões das coroas de Portugal e da Espanha na América do Sul, através de métodos astronômicos. Entre os ocupantes do cargo de astrônomo das expedições portuguesas encontram-se Francisco José de Lacerda e Almeida (1753-1798), António Pires da Silva Pontes Leme (1750-1805), Bento Sanches Dorta (1739-1795), Francisco de Oliveira Barbosa (1749-?) e José Simões de Carvalho (1752-1805). Naturais do Reino, ou do Brasil, e todos formados no curso matemático da Universidade de Coimbra recém-reformada, esses homens de ciência virão posteriormente, em alguns casos, a ocupar postos importantes na administração do império; serão membros da Academia das Ciências de Lisboa, ou, pelo menos, terão proximidade com integrantes das camadas mais poderosas do aparelho de Estado. Ao mesmo tempo, o reformismo ilustrado consolida em Portugal uma imagem das ciências e da instrução como elementos essenciais para um melhor conhecimento dos territórios do império, na expectativa de acréscimo da agricultura, indústria e comércio. À escala europeia, um campo científico com relativo grau de autonomia começa por sua vez a se esboçar, mas ainda são frequentes as reconversões de seus capitais específicos em capitais políticos. Esta dissertação tem como objetivo realizar um estudo prosopográfico daquele grupo de astrônomos demarcadores formados em Coimbra; esperando identificar, pela análise das suas trajetórias, as influências recíprocas entre as vinculações das personagens com os poderes políticos e suas possibilidades de consagração no campo científico / In the last quarter of the eighteenth century, after the signature of the Treaty of San Ildefonso, several delegations were dispatched to locally settle the boundaries between the South American possessions of the Portuguese and Spanish Crowns, employing astronomical methods. Among the astronomers officially appointed to the Portuguese expeditions were Francisco José de Lacerda e Almeida (1753-1798), António Pires da Silva Pontes Leme (1750-1805), Bento Sanches Dorta (1739-1795), Francisco de Oliveira Barbosa (1749-?) and José Simões de Carvalho (1752-1805). Born in Portugal or in Brazil, and graduated in the new mathematical course of the recently reformed University of Coimbra, these men of science would afterwards move to occupy either important positions in the administration of the empire, or become members of the Lisbon Academy of Sciences, or at least gain close proximity to high-ranking agents of the state apparatus. At the same time, Portuguese enlightened reformism was consolidating an image of science and education as essential endeavors for a better understanding of the territories of the empire, in the hope of increasing agriculture, industry and trade. At the European level, a scientific field with a relative degree of autonomy was in turn starting to take shape, but reconversions of specific scientific capitals into political ones were still quite frequent. This dissertation intends to perform a prosopographic study about that group of Coimbra-educated, border-settling astronomers, aiming to identify, by the analysis of their trajectories, the reciprocal influences between the actors\' ties to political power-players and their range of possibilities of establishing a reputation in the scientific field

This study considers the relationship between landscape and the Arcadian funereal imagination in the context of eighteenth century Britain, arguing that the Arcadian landscapes imagined by the British elite were instruments of rituals facilitating the reformation and transformation of socioeconomic, political, and moral structures of the British empire. Drawing upon texts and landscape practices, three case studies are examined: Alexander Pope’s (1688-1744) Twickenham grotto and his descriptive letter to Edward Blount; Sir William Chambers’ (1723-1796) Dissertation on oriental gardening and his design for Kew gardens, Sir John Soane’s (1753-1837) manuscript Crude hints towards an history of my house in LIF and his house-museum in Lincoln’s Inn Fields in London. The landscape itinerary of Pope’s Twickenham villa, in relation to his letter to Blount, suggests that it was structured analogous to the initiatory route of the Eleusinian mysteries as accounted in Pope’s translation of the Odyssey. Noting Pope’s engagement with Freemasonry, associated with the Opposition party, I suggest this implied Odyssean journey not only metaphorically anticipates the restitution of the Stuart dynasty and the reassertion of a political order founded upon aristocratic land ownership, but is also a means by which the ‘initiates’ contest the Enlightenment ideal of a mind of autonomy. In relation to the Burkean sublime, Chambers’ Dissertation, an imaginary travel narrative, is read as a city landscaping theory which aims to shape the morals of British citizens exposed to the erosion of commercial society. Whilst the scenes of luxury in the Chinese gardens imply a double effect of commercial society, the funereal imagery of ‘the surprising,’ built upon the Burkean sublime-effect, is intended as a cure of moral corruption associated with luxury. Stimulated by geological notions (e.g. stratigraphy and catastrophism), Soane’s ruinous text of Crude hints, a mirror of the house-museum as well as the earth, illustrates a parallel between the ‘first principles’ of the movement of the earth and that of the mind, i.e. imagination and signification. The funereal imagination in the text, which itself represents simultaneous creation and destruction, is revealed to be the architect’s construction of an ideal language that can express the being of the nation and the self. This thesis ends with a theoretical discussion of the role of the funereal imagination in eighteenth century landscape and architecture, i.e. how British imperial identity was forged, transmitted, negotiated, and reconstructed constantly within the temporally and spatially extended discursive realm of Arcadian mythology.

This thesis examines the book and archival holdings of the Cottonian Collection – a national designated eighteenth-century collection of fine art and books – between 1791 and 1816, the period of William Cotton II’s custodianship. Prior to this thesis, the Cottonian Collection has not been the subject of a full-length academic study. Whilst the art holdings have received some attention, the book and archival contents have not been examined. This thesis addresses this imbalance by conducting a thorough examination of the archival holdings and the history of the book collection. Taking the actions of the collection’s penultimate private owner, William Cotton II, as its primary focus this thesis examines the curatorial practices of acquisition, preservation and disposal through three key lenses: the presentation of the collection as a symbol of gentlemanly status, the evolution of Enlightenment cosmopolitanism thought, and the rise of Anglican Evangelicalism during this period. In doing so, this thesis considers the effects of the broader societal, political and religion changes on a national designated collection during a period defined by ideological threat and revolutionary warfare. In the process, it seeks to embed the history of the Cottonian Collection within the broader context of late-eighteenth-century book collecting practices.

O século XVIII foi um período de grandes mudanças na estrutura social e econômica vigente. Como conseqüência, a forma de organização do espaço de moradia também se alterou. Houve uma reordenação do espaço doméstico com a criação de lugares privados dentro e fora da casa e a valorização dos jardins ao redor das grandes propriedades rurais inglesas. A ascensão da nova classe média e um crescente interesse pela introspecção e privacidade propiciaram a formação destes espaços reservados ao isolamento. A partir do surgimento do romance na primeira metade do século XVIII, o espaço doméstico viu-se valorizado e descrito com mais atenção na narrativa literária. Este cuidado em retratar a vida doméstica na literatura surgiu a partir do desejo de representar a vida dos homens comuns de modo mais autêntico. Em Pamela, romance do escritor inglês Samuel Richardson publicado pela primeira vez na Inglaterra em 1740, observamos esta ênfase no espaço interior do recolhimento e da introspecção. A relação que se estabelece entre as personagens e o espaço dentro do romance é vital para a construção do enredo. / Great social and economic changes were brought about in the eighteenth-century causing, among other alterations, the rearrangement of the living spaces in the houses. This reorganization of the domestic space was responsible for the creation of private spaces inside and outside the great English country houses together with an improvement in the surrounding gardens. At that time the new middle classes were gaining more and more political and economic power and developing a taste for privacy, which required the creation of specific places inside and outside the houses for the enjoyment of the pleasures of isolation and introspection. With the rise of the novel in the first half of the eighteenth century, this domestic space was also valued, pictured and described with more attention in literature. This increasing interest in the domestic life is associated with a wish to portray the everyday lives of ordinary men with greater authenticity. In Pamela, a novel by Samuel Richardson published for the first time in England in 1740, this emphasis in the private space of isolation and introspection is clearly depicted. The deep correlation between space and characters in the novel is vital for the development of the plot.

Vathek, primeiro romance do escritor inglês William Beckford publicado em 1786, é considerado por muitos uma obra singular. Combinando certos elementos dos chamados romances góticos com uma ambientação oriental, a narrativa coloca diversos problemas a respeito de sua complexa natureza estilística. Muitos estudiosos já tentaram associar a obra a alguma dessas tradições de forma definitiva. Neste trabalho, realizaremos uma nova leitura do romance para, então, confrontarmos nossos achados com a fortuna crítica. O intuito desse procedimento é o de verificar se, diante das questões suscitadas pela própria obra, termos como gótico ou orientalista podem descrever Vathek de maneira precisa. / Vathek, English writer William Beckfords first novel published in 1786, is considered by many a singular work. By combining certain elements of the so-called gothic novels with an Oriental setting, it poses many problems deriving from its complex stylistic nature. Several critics have already tried to conclusively link the work to some of the aforementioned traditions. The aim of our work is to propose a new reading of the novel and compare our findings with previous critical assessments. The reason behind this procedure is to verify if terms like gothic or orientalist can still precisely describe Vathek when confronted with problems evoked by the work itself.

This thesis focuses on a long-misunderstood person - Edward, Lord Herbert of Cherbury (1582-1648), a diplomat, philosopher, and historian. He has been labelled 'the father of English deism', a title invented by John Leland (1691-1766) more than a hundred years after his death. Although this label has recently been challenged, modern scholarship continues to pay disproportionate attention to Herbert's religious ideas, while research on political and historical aspects of his thought remains quite underdeveloped. This thesis places Herbert in the context of contemporary issues of religion and politics, including the controversy over the royal supremacy, the relationship between King and Parliament, and debates over the lawfulness of resistance to tyrants in the Early English Civil War. It argues that his viewpoints on these issues reflected his deep concern for the freedom and authority of individual conscience. Herbert held that laws enacted in the name of the royal supremacy should not force individuals to accept anything contrary to the judgement of their consciences. He also suggested that the safety and liberty of the people took priority over the prerogatives of the King, and that Parliament, as the highest court in the kingdom, had the authority to protect the people's consciences from the oppression of the King's unlawful commands. Finally, Herbert held that resistance to tyrants was indeed lawful and that conscience granted that a tyrant's misdeeds could lawfully be bridled. The thesis is based on a close analysis of Herbert's religious treatises, his manuscript collections deposited in the National Library of Wales, and his historical works, including 'On the King's Supremacy in the Church' and The Life and Raigne of King Henry the Eighth. His manuscript collections and historical treatises in particular have never been properly examined. The main contributions of the thesis are to restore Herbert's thought to its seventeenth-century context, broaden the research on Herbert to include his political thought, and reveal that the common purpose of his works of philosophy, religion, and history was to save the people from unjust religious coercion. This approach provides a more comprehensive understanding and a more complete picture of Herbert's thought, and challenges several commonly held views of Herbert: that Herbert's thought was a precursor to eighteenth-century deism, that his theory of common notions represented the whole picture of his thought, and that his historical works were of little value and aimed only at gaining royal recognition.

O presente trabalho analisa a emergência da ideia de direitos do homem na obra de Rousseau, procurando compreendê-la como parte de uma nova sensibilidade em relação ao homem. Entendemos que essa nova disposição foi o fundamento sobre o qual se pôde assentar a Declaration des droits de lhomme et du citoyen de 1789. Procuramos mostrar como esse novo sentimento em relação aos direitos dos homens está ligado a um processo mais amplo de ressignificação da religião cristã. Rousseau fará uma nova leitura do cristianismo, procurando enfrentar temas tradicionais como pecado original, divindade de Cristo, milagres e revelação, polemizando em seus escritos com os materialistas e os integrantes das ortodoxias religiosas do Antigo Regime, seja o arcebispo de Paris, sejam os protestantes do Conselho da República de Genebra. Ao longo desses debates, Jean-Jacques procurará defender um cristianismo mais próximo da mensagem original dos Evangelhos, por um lado criticando o modelo religioso hegemônico e seu recorrente apelo ao mistério, e por outro, postulando por uma religião favorável à causa do homem e de seus direitos. / This paper analyzes the emergence of the idea of human rights in Rousseau\'s work, trying to understand it as part of a new sensibility about the man. We believe that this new provision was the basis on which might become the Declaration des droits de l\'homme et du citoyen, 1789. We show how this new feeling about the rights of men is linked to a broader process of reinterpretation of the Christian religion. Rousseau will make a new reading of Christianity, looking face traditional subjects as original sin, divinity of Christ, miracles and revelation, discussing in his writings with the materialist and members of religious orthodoxies of the Old Regime, be the archbishop of Paris or the Protestants of the Council of the Republic of Geneva. Throughout these discussions, Jean-Jacques seek to defend Christianity closer to an original message of the Gospels, first criticizing the hegemonic religious model and its recurring appeal to mystery, and second, by positing a religion helpful to the cause of man and their rights.