Anarchism is a political and socioeconomic force that has driven violent methods of social and political change for centuries. Relating Anarchism to these violent acts demonstrates a deep-seeded link to terrorism. Anarchism is one of the main forces behind modern day terrorism due to its long history alongside the ever evolving term terrorism. By connecting these two concepts, domestic terror groups can be better analyzed and understood, and future attacks from within the United States may be prevented.

In recent decades, the art and life of Jacques-Louis David have sparked a renewed surge of interest in the academic community. It is startling, however, that the often prevalent and imposing elements of architecture found in David's paintings have received little scholarly attention. This study fills a lacuna in David studies by providing a new perspective on his passionate engagement with architecture and its impact on his art. I begin by demonstrating that, following his trips to Rome early in his career, architecture became central to many of the artist's most celebrated compositions. Focusing chronologically on an approximately thirty-year period of the artist's career, I explore key paintings by David that serve as principal examples of the emphasis he placed on architecture and its ability to reaffirm, complement, intensify, and contribute layers of meaning to the central themes of his paintings. Throughout the dissertation, I identify principal architectural elements contained within these works and seek to determine their significance. David's engagement with architecture began at a young age. He was born into a family of architects and throughout his adolescence was surrounded by some of the most important thinkers, artists, and architects of the eighteenth-century. This unique upbringing and inclusion within Paris's elite cultural milieu had a tremendous impact on how David would come to understand architecture as an aesthetic vehicle capable of enhancing his works with added narrative and metaphorical meanings. The dissertation takes as its starting point an investigation into David's period as a pensionnaire at the French Academy in Rome where he became profoundly inspired by the Antique. David recorded the impact of the Roman experience on his artistic development within the pages of a dozen albums, which contain a vast number of drawings depicting the Italian landscape, ancient buildings and monuments, and antique sculpture. The Roman albums reveal the importance David placed on architecture during this period and mark the beginning of the transformative effect the medium would have on his subsequent work. David's obsession with the art and architecture of ancient Rome revealed in his Roman albums, for example, combined with his fascination for the popular vedute genre exemplified in compositions by Robert, Panini, and Piranesi, inspired him to reconsider how architecture could be used in new and significant ways in representations of historical subjects. This study investigates the multiple sources of architectural inspiration that served David throughout his career and inspired him to create a powerful architectural language. Comparisons between painting and architecture, including representations of architecture in painting, are fully explored for in the art of David, painting and architecture are not dichotomous. Rather, the two mediums are inextricably linked and together can be understood to embody the thoughts, pursuits, and passions of an epoch.

Eighteenth-century opéras comiques often turn around moments of sympathy--moral and affective bonds through which the Enlightenment imagined a natural basis for the social order as well as the pleasures and transformative potential of art. Through musico-literary analysis informed by models of moral and aesthetic relationality that I derive from Dubos, Marivaux, Rousseau and Diderot, I argue that opéras comiques written and performed between 1835and the Revolution feature three distinct forms of sympathy: 1) a worldly-sensuous sympathy most typically found in the common subgenre of the sentimental pastorale and characterized by a happy blending of moral and sensual connections; 2) an amorous intersubjectivity found occasionally in sentimental comedies and characterized by a sometimes empowering, sometimes trying encounter with an other experienced as a site of subjective freedom; and finally 3) a sacrificial sympathy found most frequently in Michel-Jean Sedaine's sometimes pointedly anti-worldly, morally sober lyric dramas and characterized by an obstacle-triggered leap into an identificatory, affective imagination. Although there is much that distinguishes these forms of sympathy, they are all shaped by eighteenth-century empiricist assumptions as to the existence of a basic relationality between the self and his or her social environment and thus resist a standard critical model that sees such emotional ties as merely the effect of some more fundamental separation between self and other.

Cette étude a pour ambition d’expliquer les mécanismes qui informent la représentation du corps du "non-civilisé" dans les Îles Britanniques entre 1776 et 1815. Elle s’appuie sur un corpus de périodiques et de romans cités dans le titre et, de manière adventice, sur quelques documents iconographiques. Elle démontre, dans un premier temps, l’existence d’un lien, sinon paradoxal, du moins inattendu entre le degré de "civilisation" que l’observateur britannique prête à un individu ou à un groupe et la manière dont il représente son corps. Elle explique ensuite comment cette représentation est largement conditionnée par la théorie des climats, défendue, sous sa forme la plus aboutie, par Buffon, mais prolongée par d’autres observateurs sous des formes révélatrices d’une transition alors en cours. Cette transition voit l’essor de théories raciales fondées sur l’idée que le corps est un matériau à la fois mesurable et signifiant, dont on cherchera à prouver qu’elles s’opposent moins à la logique "climatique" que la doxa universitaire ne le laisse croire. C’est que le corps du "non civilisé" contribue lui-même à la formation d’un "corps impérial" en pleine formation, dont il devient un organe tantôt malade, tantôt vital. Ce n’est ainsi, précisément, qu’en tant que représentation que cette figure protéiforme acquiert un certain degré d’existence. / Abstract This study aims at explaining the mechanisms that inform the way ‘uncivilized’ peoples’ bodies are represented in the British Isles between 1776 and 1815. It is based on a corpus of periodicals and novels cited in its title and, to a lesser extent, on some illustrations. It first demonstrates that there exists an unexpected if paradoxical link between the degree of ‘civilization’ that the British observer attributes to a given individual or group and the way this observer represents their bodies. It then explains how such a representation is largely conditioned by the theory of climates (aka ‘environmentalism’), the most sophisticated version of which was put forward by Buffon, but was then elaborated upon by other observers, in ways that turn out to disclose a transition that was then taking place. The transition in question is that by which racial theories, based on the idea that the body constitutes both a measurable and meaningful material, came to prevail. As this study seeks to prove, such theories are much less opposed to the previous ‘climatic’ ones than what academic doxa on the subject might lead us to believe. The reason is that ‘uncivilized’ peoples’ bodies contribute to shaping an ‘imperial body’ that is itself in progress and of which they become organs that are either perceived as unhealthy or vital. So it is precisely as a representation–and as nothing else–that the protean figure of the ‘uncivilized’ comes to life.

Le dix-huitième siècle est une période propice à l’essor du débat sur la prostitution à Londres.Parce que la politique répressive des autorités se révèle défaillante dans son combat en la matière, un grand débat se fait jour dès le milieu du siècle, dans l’espoir de trouver des recours plus adaptés à l’ampleur du phénomène. Cette thèse est consacrée à l’analyse chronologique de ce débat qui adopte, au fil de son évolution, une dynamique complexe. Créé à Londres en 1758, le Magdalen Hospital devient la première maison de charité pour prostituées repenties en Angleterre. Il est la concrétisation d’une vigoureuse croisade humanitaire menée par des réformateurs philanthropes, afin de porter secours aux nombreuses filles publiques de la ville. Soutenue par le discours sentimental, une politique de »victimisation » à l’égard de la prostituée est mise en place, avec des répercussions majeures sur son image : celle-ci a subi le « crime » de séduction, et c’est par nécessité économique,non par choix, qu’elle se prostitue. À partir des années 1780, on constate néanmoins un tournant sensible dans le débat. Le discours philanthropique semble s’essouffler et présage le retour d’une pensée plus radicale : celle qui rappelle le crime de la prostitution. Dans un contexte social agité, ce commerce est devenu un « mal national » auquel il faut s’attaquer avec plus de fermeté. Par-dessus tout, ce sont deux discours habituellement opposés, celui delà charité et celui de la répression, qui, au tournant du siècle, collaborent peu à peu afin de combattre le « fléau ». / The eighteenth century witnessed an intensifying debate on prostitution in London. Asrepressive state policies became a less effective counter to the burgeoning sex trade, agrowing debate starting in the middle of the century sought a more coherent response. Thisthesis offers a chronological analysis of the debate, which took on a complex dynamic overthe course of its development. Founded in London in 1758, the Magdalen Hospital becamethe first charity house in England for repentant prostitutes. It represented the concretization ofa vigorous humanitarian crusade spurred on by philanthropist reformers hoping to help thecity’s many « streetwalkers ». A new policy, rooted in sentimentalist discourse, whichmaintained the « victimization » of the prostitute, had major repercussions on her image: theprostitute was seen to have been subjected to the crime of « seduction », and it was financialnecessity, not choice, which had led her to prostitution. The 1780s, however, brought about anoticeable shift in the debate. As the philanthropic discourse ran out of steam, it presaged thereturn of a more radical line of thought, which evoked the « crime » of prostitution. At a timeof social turbulence, prostitution increasingly became seen as a « national evil », which neededto be attacked with greater firmness. Above all, it was these two normally opposed lines ofthought – that of charity and that of repression – which, at the turn of the century, tentativelyworked together to put an end to the « scourge » of prostitution.

Francesco Geminiani was highly regarded as a violinist, composer, and theorist during the late Baroque era. During his lifetime he was considered equalin status to the foremost composers of the day; however, relatively little information is available regarding his life and works today. This lack of information is largely a result of controversy among his peers regarding the merit of his work, specifically in reference to melodic style, structural consistency and harmonic practices. Critical views of such authors as Sir John Hawkins and Charles Burney have been reflected in later historical writings, considerably suppressing further interest in the composer. The first objective of this thesis is the examination of Geminianis 1752 treatise, Guida Armonica, its content, and implications for potential harmonic and structural functions. The second objective is to identify specific characteristics of Geminianis music that distinguish him from other composers of the period. Comparative analyses of selected movements by Geminiani and his teacher, Arcangelo Corelli, identify traits unique to Geminiani. The third objective of this project is to explore possible relationships between the work of Geminiani and the content presented in Guida Armonica. It is the intent of this study to provide expanded information about Guida Armonica and Geminiani’s compositional style, identify possible parallels between the music and treatise, and explore how the distinguishing stylistic details of his work may correlate with the criticisms he faced.

On the tenth of January 1786, Mrs. Hester Lynch Piozzi recorded her entrance into the city of Naples, Italy in her travel journal Observations and Reflections Made in the Course of a Journey Through France, Italy, and Germany. She emphasized the importance of her experience in Naples by stating that: "among all the new ideas I have acquired since England lessened to my sight upon the sea, those gained at Naples will be the last to quit me." This British woman's stay in Naples was but a brief period within her three year long Grand Tour, yet it represented a great deal more than a simple respite. It became both a metaphor for her own break from the English society with her second marriage to an Italian musician and a forum through which she could express her complex opinions about class, ethnicity and gender. Essentially, this study reconstructs how Naples became a symbolic site in the journal and what it and its inhabitants represented to Hester Piozzi, both geographically and personally. Moreover, it simultaneously analyzes the common northern-European impressions that informed her opinions of Naples and the personal experiences that shaped her interactions with Neapolitans. Complex and sometimes conflicting beliefs and motivations formed Hester Piozzi's opinions of the place and its people. The object of my thesis is to understand how these various strands shaped her cultural interactions in the Italian south. In Piozzi's mind, Naples stood for many things. In part, long-standing northern European conceptions of Italian society formed the basis for her perceptions. More interestingly they also built upon her intensely personal observations as a woman who had split from her own social niche, the British upper-class. The city's exotic qualities provided her with the ability to fully embrace her liberation, yet in that context she also found common parallels that connected the lives of Neapolitan women to her own. Ironically, in the place that she believed to be most opposite to her home, she found a striking metaphor to help her evaluate and understand her own fractured life in England.

The overarching goal of this study is to suggest that Alexander Pope did not abandon his project for a "system of ethics in the Horatian way," but rather that in his final days he did find a way to unite the parts at hand into a viable whole. Constructing such an argument, however, requires a similar building up from the parts, and so the core focus becomes a study on the way the image of an arch can serve as a metaphor for Pope's reconciliation scheme in his Moral Essays as he "steers betwixt" seeming opposites. To justify this approach, I note the works of critics who have studied Pope's use of the sister arts, the works of architectural theorists and historians, as well the works of critics who focus on various reconciliatory strategies. Perhaps more importantly, I look back to Pope's correspondence and Joseph Spence's record to establish not only Pope's interest in architecture, but also his actual architectural endeavors. From this foundation, I relate Pope's intentions for his opus magnum and indicate the connections that can be drawn between the four epistles of Essay on Man and the four epistles that Pope selected to comprise the "death-bed" edition of his ethic work, namely To a Lady, To Cobham, To Bathurst, and To Burlington. Finally, I examine Pope's method of reconciling the extremes he presents by exemplum in the Moral Essays by comparing the personal and societal pressures that form the basis of Pope's satire to the vertical and lateral thrusts that enable an arch to stand, even as they threaten its destruction should the forces become unbalanced. From such an architectural perspective, one can trace Pope's conception of man in his middle state as he makes the transition from the abstract plan established in Essay on Man, through the pendentive formed by the arches of the Moral Essays, and ultimately to the ideal state of existence that is represented by the dome. The final result can be conceived of as no less than a monument to Pope's life and art.

The works of Mary Wollstonecraft have been largely utilized in the twentieth and twenty-first centuries within the domain of feminist studies. They were influential throughout the 'feminist movement' of the 1960s and 1970s and Wollstonecraft is routinely given the title of 'mother' of feminism. One result of her works being classified as important feminist texts is the elision of the religious element in her works. Moreover, recent scholarship has drawn attention to the central importance of religion in eighteenth century British discourse. This thesis will primarily argue that Wollstonecraft was heavily influenced by religion, and that her writings were conceived in response to a profoundly theologico-political culture. This influence of religion has generally been overlooked by researchers and this thesis will aim to redress this absence. Four of Wollstonecraft's works - all produced within a 'similar' political climate and within a concise time period - are utilized to show that religion was a foundational element within Wollstonecraft's thought and arguments. This thesis shows that Wollstonecraft was not so much a 'feminist' thinker, but a unique intellectual determined to show that the inferior position of women went against 'God's will', teachings and the equality He had ascribed to both men and women during Creation.

This thesis studies the progressive nature of women’s writing and the various factors that helped and hindered the successful publication of women’s written works in the late eighteenth and early nineteenth centuries. The thesis interrogates culturally encoded definitions of the term “success” in relation to the status of these women writers. In a time when success meant, according to the Oxford English Dictionary, “attainment of wealth or position”, women could never achieve a level of success equal to the male elite. The dichotomous worldview, in which women were excluded from almost all active participation in the public sphere, led to a literary protest by women. However, the male-privileged binary system is seen critically to affect women’s literary success. Hence, a redefinition of success will specifically refer to the literary experience of these women writers and a long-lasting recognition of this experience in the twentieth century. An examination of literary techniques used in key works from Catherine Macaulay, Mary Wollstonecraft, Hannah More, Mary Shelley and Jane Austen suggests that there was a critical double standard with which women writers were constantly faced. The literary techniques, used by the earlier writers, fail in overcoming this critical double standard because of their emphasis on revolution. However, the last two women writers become literary successes (according to my reinterpretation of the term) because of their particular emphasis on amelioration rather than revolution. The conclusion of the thesis suggests that despite the “unsuccessful” literary attempts by the first three women authors, there is an overall positive progression in women’s journey toward literary success. Described as the ‘generational effect’, this becomes the fundamental point of the study, because together these women represent a combined movement which challenges a system of patriarchal tradition, encouraging women to continue to push the gender relations’ boundaries in order to be seen as individual, successful writers.