The New England Planters were the largest wave of Protestant migration into Nova Scotia prior to the American Revolution. Sponsored by the British government, they represent an attempt to make Nova Scotia a securely British colony in the wake of the Seven Years’ War and the Acadian deportation. Examining the experiences of several families, this thesis argues that the Planters, despite taking up lands in Nova Scotia, remained unsettled. The migration was staggered over a number of years, and Planters maintained close ties with New England. However, the Planters were unable to recreate New England culture completely. Increasing numbers of settlers from the British Isles and revolutionary suspicion marked out Planter Nova Scotia as a separate space, despite the close ties that individual Planters maintained with their homelands. The Revolution forced Planters to choose, but until then many existed between the worlds of Nova Scotia and New England.

IMPLICATIONS OF JEWISH DIVORCES THAT BECAME CAUSES CÉLÈBRES: THE REFORM OF JEWISH STATUS AND JURIDICAL CENTRALIZATION Suzette Blom Advisor: University of Guelph, 2012 Professor William Cormack This dissertation examines the reform of Jewish status in France in the eighteenth century in connection with the monarchy's impetus to centralize juridical authority. In particular it focuses on how litigating divorces in sovereign courts affected Jewish civil status. This study suggests a new perspective on events leading up to the decrees of 1790 and 1791 that granted the Jews active citizenship and the legalization of divorce in 1792. It examines the extent of the role that making Jewish divorce subject to secular national courts played in the acceptance of Jews as citizens. It concludes that Jewish divorces which attracted public attention as causes célèbres enhanced the role of the Jews in the larger process of juridical centralization and added a new dimension to the construction of a French identity. It further concludes that the reform of Jewish status was part of the erosion of traditional religious values and the growth of ideals of individualism. The principal manifestation of this process was the attempt to develop a uniform legal code for both the public and private spheres. This change included calls for the dissolution of marriage which was prohibited in France for all groups other than Jews as a result of the influence of the Church. This analysis relies on published mémoires judicaires for Jewish divorces that became causes célèbres. These mémoires reflected the changing attitudes towards the patriarchal concept of authority symbolized by indissoluble marriage, the erosion of corporate autonomy for the Jews and the reform of Jewish status. This analysis also relies on the correspondence and memoires of sovereign administrators, reformers and Jewish leaders which reflected the divisiveness of political and social opinion regarding the restructuring of authority. Little study has been done on the litigation of Jewish divorce in sovereign courts as an aspect of juridical centralization. Yet the mémoires judicaire of the Peixotto and Levy cases provide excellent case studies of the evolution in attitudes toward divorce and the acceptance of Jews as French subjects. Although there has been considerable scholarship to support the idea that the events of the French Revolution were grounded on the developments and reforms of previous decades, this analysis demonstrates that juridical centralization played a more critical role than has previously been considered.

This thesis addresses the growing impulse towards establishing a public, national collection of Old Master pictures for Britain, located in London, in the last quarter of the eighteenth-century. It does so by identifying the importance of individual conceptualizations of what such a collection might mean for a nation, and how it might come to be realized for an imprecisely defined public. My thesis examines the shifting dynamics between private and public collections during the period of 1775 to 1800, repositioning notions of what constituted space for viewing and accessing art in a national context, and investigates just who participated in the ensuing dialogues about various uses of art for the nation. To this end, three case studies have been employed. The first examines the collection of pictures assembled by Sir Robert Walpole and their public legacy. The second explores the proposal for a national collection of art put forth by art dealer Noel Desenfans. The third examines the frustrated plans of Sir Joshua Reynolds for his collection of Old Master pictures. Through the respective lenses provided by the case studies, it is demonstrated that the envisioning of a national gallery for Britain pitched competing perspectives against each other, as different kinds of people jockeyed for cultural authority. The process of articulating and shaping these ambitions with an eye towards national benefit was only beginning to be explored, and negotiations of private ambitions and interests surrounding picture collections for the public was further complicated by factors of social class and profession. This thesis demonstrate that the boundaries of participation in matters concerning art for the nation were not fixed regarding Old Master pictures and the value placed on them in late eighteenth-century London. / Thesis (Ph.D, Art History) -- Queen's University, 2009-01-26 09:01:22.591

“Renewing Homeland and Place” explores the complex intertwining of evangelical Christianity and notions of place and homeland in Algonquian communities in southern New England during the eighteenth century. In particular, this dissertation examines the participation of Algonquian men and women in the Protestant evangelical revivals known generally as the “First Great Awakening,” the adoption of New Light beliefs and practices within Algonquian communities, and the ways in which the Christian faith shaped and informed Algonquian understandings of place and community, and the protection of their lands. Mohegan, Pequot, Niantic, Narragansett, and Montaukett people living in Connecticut, Rhode Island, and on Long Island (New York) struggled continually throughout the eighteenth century to protect their land, resources, and livelihoods from colonial encroachment and dispossession. Christianity provided many Algonquians with beliefs, practices, and rituals that renewed, rather than erased, the spiritual and sustaining values they attached to their lands and that strengthened, rather than diminished, the kinship ties and sense of community that linked their settlements together. Equally as significant, the adoption of Christian beliefs and practices brought to the surface the dynamic and contested nature of community and place, and the varying ways in which Algonquians responded to colonization. As a number of Algonquians attended formal schools, assumed roles as ministers and teachers within their own settlements and among the Haudenosaunee in New York, and formed their own churches, they disagreed within their communities over issues of land use and political authority, and between their communities over the best response to the infringements they continued to suffer. By the 1770s a number of Christian leaders began to consider relocation to Oneida lands in New York as a solution to the land loss and impoverishment they faced in New England. While many Algonquians left their coastal homelands for central New York in the 1780s to form the Christian community of Brotherton, a number of Christians remained behind, highlighting the varying paths of adaptation and survival that Natives tread by the end of the century. / Thesis (Ph.D, History) -- Queen's University, 2010-09-24 13:20:16.449

No description available.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

This dissertation explores the representation of dueling and honor in five theatrical works in order to answer one central question: How does the Golden Age concept of honor transform in the age of Enlightenment? This question may be broken down into specific inquiries, such as: 1) How is honor filtered through sentiment? 2) How did eighteenth-century ilustrados use theater to attempt to resolve the conflict between using violence to defend one’s honor and the Enlightenment ideal of avoiding excess? and 3) How did honor affect the private citizen and his relationship to the state in plays? During the eighteenth century, the age of sensibility rewrote the duel, transforming it from a ritual connected with the aristocracy into an act tied to individual, often middle-class lives. This project begins with an early play by José de Cañizares, Por acrisolar su honor (1711) and then examines sentimental comedies published and performed toward the end of the century: Gaspar Melchor de Jovellanos’ El delincuente honrado (1773), Luciano Francisco Comella’s La Jacoba (1789), Antonio Valladares de Sotomayor’s El vinatero de Madrid (1784) and Gaspar Zavala y Zamora’s El amante generoso (1791). Sentimental comedies use sensibility to focus on individuals’ honor conflicts. An analysis of the representation of dueling offers a glimpse of the complex intermingling of multiple definitions of Spanish culture, where neither a lone enlightened model nor an identity based primarily on Spain’s Baroque past prevails. While sentimental comedies present conclusions that ostensibly exalt honor as virtue and rely on a belief in humanity’s goodness to resolve their conflicts, their representations of dueling point to a tense coexistence of multiple definitions of Spanish identity in the eighteenth century. Virtue is never enough to override the accusation that someone is a coward for not accepting a dueling challenge. The inclusion of extra elements that cater to social prejudices of the time also undermines the notion of honor-as-virtue. The contradictions revealed by sympathetic representations of dueling may point to the failure of sensibility as a cohesive model for resolving dramatic conflicts in a society with such diverse definitions of honor and citizenship.

The eighteenth century French explorer La Vérendrye has been commemorated in Canadian history as the “Pathfinder of the West.” Although many historians have praised La Vérendrye for his tolerance and understanding of Aboriginal culture, he was nevertheless a colonial servant, fiercely loyal to the French Crown, and tasked to carry out the imperial policies of Versailles. La Vérendrye sought to create alliances with the Indigenous peoples of the Petit Nord – Cree, Monsoni, Assiniboine, and Dakota – with the intent to bring them into a network of French-mediated alliances emanating from the Great Lakes region. The governor of New France, called Onontio by the natives, sought to ensure the symbolic subjugation of all the Indigenous nations of the Great Lakes region and the Petit Nord. In theory, the role and acknowledgement of Onontio as the Father of the Alliance would have permitted the Cree, Assiniboine, and Dakota of the Petit Nord to recognize each other as “brothers and children of the same father [frères et Enfants du même Père],” to forget their inter-village quarrels, and to forge a common identity. In reality, this was far from the case, as frequent inter-village rivalries placed French officers at the western posts in a difficult position. Unlike their Great Lakes counterparts, the Cree of the Petit Nord did not need the “glue” of French mediation to hold together their already cohesive alliance with the Assiniboine, nor did they need Onontio’s authority to protect them from their traditional enemies, the Dakota. Ultimately, the Cree, Assiniboine, and Dakota rejected Onontio as their Father, dismissed La Vérendrye as his representative, and ultimately refused French conceptions of the alliance in the Petit Nord and Northern Great Plains.

Studies concerning the development of the piano trio primarily cultivate analyses of the musical structures found in this genre. Few of these studies deal in depth with the socio-historical aspect of the development of the piano trio. Such a neglected process can only lead to the loss of valuable information. It is important to pay careful attention to our ever-changing environment and how this phenomenon impacts upon music. The study of the development of the early piano trio (because of the social nature of chamber music) requires greater attention to the social history associated with this genre. This development can be traced as an integral part of the Germanic culture, more specifically that of eighteenth century Germany and Austria. Both societies' love for the piano led to the full blossoming of the piano trio. The question arises: to which degree did the early development of the piano and the changing society- as it mostly appeared during the eighteenth century in Germany and Austria- have an impact on the development of the early piano trio? This hypothesis holds that the development of the early piano trio depended (among other aspects) on the early development of the piano and the changing society of eighteenth century Germany and Austria. Thus, a mutual connection exists between all three factors. / Thesis (M.Mus.)--North-West University, Potchefstroom Campus, 2011

Studies concerning the development of the piano trio primarily cultivate analyses of the musical structures found in this genre. Few of these studies deal in depth with the socio-historical aspect of the development of the piano trio. Such a neglected process can only lead to the loss of valuable information. It is important to pay careful attention to our ever-changing environment and how this phenomenon impacts upon music. The study of the development of the early piano trio (because of the social nature of chamber music) requires greater attention to the social history associated with this genre. This development can be traced as an integral part of the Germanic culture, more specifically that of eighteenth century Germany and Austria. Both societies' love for the piano led to the full blossoming of the piano trio. The question arises: to which degree did the early development of the piano and the changing society- as it mostly appeared during the eighteenth century in Germany and Austria- have an impact on the development of the early piano trio? This hypothesis holds that the development of the early piano trio depended (among other aspects) on the early development of the piano and the changing society of eighteenth century Germany and Austria. Thus, a mutual connection exists between all three factors. / Thesis (M.Mus.)--North-West University, Potchefstroom Campus, 2011