This thesis summarises the important ideologies and concepts of musical organicism in the late eighteenth century and applies them to motivic analysis and performance. Much has been written about the organic nature of Beethoven’s later works, but less has been written about the organic coherence found in his earlier compositions. This study involves a motivic analysis of his Op. 2 No. 3 sonata (1795), for which little or no significant research has been carried out. This musical work is used as an illustration of ways in which musical organicism, motivic analysis, and performance can interrelate. The thesis is in three parts. Part one presents a review of late eighteenth-century ideologies of unity and their musical applications. In the search for an effective means of comparing motivic development with organicism, it is then argued that Schenker’s ‘motivic parallelism’ or ‘concealed repetition’ is considerably undervalued in his analytical framework. Drawing on the insights of Richard Cohn, I endorse a more autonomous treatment of the motivic parallelism in analysis, so that it is an independent unifying tool in its own right and not only a by-product of tonal analysis. Several approaches are applied to the motivic parallelism in order to illustrate how the parallelism can be used in ways normally only associated with the surface motif. Part two of the thesis consists of a detailed motivic analysis of Beethoven’s Op. 2 No. 3 sonata. It is argued that the motivic parallelisms contained in this sonata reflect late eighteenth-century ideals of organicism. I propose that there are several motivic cells found in the opening four bars of the sonata, which recur (or are ‘paralleled’) within all structural levels and over all four movements, unifying the sonata organically as one whole. In this way, I show that the Op. 2 No. 3 sonata can be seen to foreshadow the organic treatment of motifs by later composers, who were influenced by Goethe’s complex prototype (1802) as an organic model.(1) I also offer an ‘organic narrative’ for the sonata, using motivic parallelisms as the guiding forces in the discourse. The third and final part relates the motivic parallelisms and other analytical findings to performance. Techniques of ‘performing’ motivic parallelisms are discussed and applied to the Op. 2 No. 3 sonata. The organic perspective is proposed as one avenue through which to understand and enhance a performance of a work. (1) The sonata can also be seen to foreshadow the highly seminal treatment of motifs that was to become more widely used in Beethoven’s later works (such as the Eroica Symphony).

This thesis summarises the important ideologies and concepts of musical organicism in the late eighteenth century and applies them to motivic analysis and performance. Much has been written about the organic nature of Beethoven’s later works, but less has been written about the organic coherence found in his earlier compositions. This study involves a motivic analysis of his Op. 2 No. 3 sonata (1795), for which little or no significant research has been carried out. This musical work is used as an illustration of ways in which musical organicism, motivic analysis, and performance can interrelate. The thesis is in three parts. Part one presents a review of late eighteenth-century ideologies of unity and their musical applications. In the search for an effective means of comparing motivic development with organicism, it is then argued that Schenker’s ‘motivic parallelism’ or ‘concealed repetition’ is considerably undervalued in his analytical framework. Drawing on the insights of Richard Cohn, I endorse a more autonomous treatment of the motivic parallelism in analysis, so that it is an independent unifying tool in its own right and not only a by-product of tonal analysis. Several approaches are applied to the motivic parallelism in order to illustrate how the parallelism can be used in ways normally only associated with the surface motif. Part two of the thesis consists of a detailed motivic analysis of Beethoven’s Op. 2 No. 3 sonata. It is argued that the motivic parallelisms contained in this sonata reflect late eighteenth-century ideals of organicism. I propose that there are several motivic cells found in the opening four bars of the sonata, which recur (or are ‘paralleled’) within all structural levels and over all four movements, unifying the sonata organically as one whole. In this way, I show that the Op. 2 No. 3 sonata can be seen to foreshadow the organic treatment of motifs by later composers, who were influenced by Goethe’s complex prototype (1802) as an organic model.(1) I also offer an ‘organic narrative’ for the sonata, using motivic parallelisms as the guiding forces in the discourse. The third and final part relates the motivic parallelisms and other analytical findings to performance. Techniques of ‘performing’ motivic parallelisms are discussed and applied to the Op. 2 No. 3 sonata. The organic perspective is proposed as one avenue through which to understand and enhance a performance of a work. (1) The sonata can also be seen to foreshadow the highly seminal treatment of motifs that was to become more widely used in Beethoven’s later works (such as the Eroica Symphony).

This thesis summarises the important ideologies and concepts of musical organicism in the late eighteenth century and applies them to motivic analysis and performance. Much has been written about the organic nature of Beethoven’s later works, but less has been written about the organic coherence found in his earlier compositions. This study involves a motivic analysis of his Op. 2 No. 3 sonata (1795), for which little or no significant research has been carried out. This musical work is used as an illustration of ways in which musical organicism, motivic analysis, and performance can interrelate. The thesis is in three parts. Part one presents a review of late eighteenth-century ideologies of unity and their musical applications. In the search for an effective means of comparing motivic development with organicism, it is then argued that Schenker’s ‘motivic parallelism’ or ‘concealed repetition’ is considerably undervalued in his analytical framework. Drawing on the insights of Richard Cohn, I endorse a more autonomous treatment of the motivic parallelism in analysis, so that it is an independent unifying tool in its own right and not only a by-product of tonal analysis. Several approaches are applied to the motivic parallelism in order to illustrate how the parallelism can be used in ways normally only associated with the surface motif. Part two of the thesis consists of a detailed motivic analysis of Beethoven’s Op. 2 No. 3 sonata. It is argued that the motivic parallelisms contained in this sonata reflect late eighteenth-century ideals of organicism. I propose that there are several motivic cells found in the opening four bars of the sonata, which recur (or are ‘paralleled’) within all structural levels and over all four movements, unifying the sonata organically as one whole. In this way, I show that the Op. 2 No. 3 sonata can be seen to foreshadow the organic treatment of motifs by later composers, who were influenced by Goethe’s complex prototype (1802) as an organic model.(1) I also offer an ‘organic narrative’ for the sonata, using motivic parallelisms as the guiding forces in the discourse. The third and final part relates the motivic parallelisms and other analytical findings to performance. Techniques of ‘performing’ motivic parallelisms are discussed and applied to the Op. 2 No. 3 sonata. The organic perspective is proposed as one avenue through which to understand and enhance a performance of a work. (1) The sonata can also be seen to foreshadow the highly seminal treatment of motifs that was to become more widely used in Beethoven’s later works (such as the Eroica Symphony).

This thesis summarises the important ideologies and concepts of musical organicism in the late eighteenth century and applies them to motivic analysis and performance. Much has been written about the organic nature of Beethoven’s later works, but less has been written about the organic coherence found in his earlier compositions. This study involves a motivic analysis of his Op. 2 No. 3 sonata (1795), for which little or no significant research has been carried out. This musical work is used as an illustration of ways in which musical organicism, motivic analysis, and performance can interrelate. The thesis is in three parts. Part one presents a review of late eighteenth-century ideologies of unity and their musical applications. In the search for an effective means of comparing motivic development with organicism, it is then argued that Schenker’s ‘motivic parallelism’ or ‘concealed repetition’ is considerably undervalued in his analytical framework. Drawing on the insights of Richard Cohn, I endorse a more autonomous treatment of the motivic parallelism in analysis, so that it is an independent unifying tool in its own right and not only a by-product of tonal analysis. Several approaches are applied to the motivic parallelism in order to illustrate how the parallelism can be used in ways normally only associated with the surface motif. Part two of the thesis consists of a detailed motivic analysis of Beethoven’s Op. 2 No. 3 sonata. It is argued that the motivic parallelisms contained in this sonata reflect late eighteenth-century ideals of organicism. I propose that there are several motivic cells found in the opening four bars of the sonata, which recur (or are ‘paralleled’) within all structural levels and over all four movements, unifying the sonata organically as one whole. In this way, I show that the Op. 2 No. 3 sonata can be seen to foreshadow the organic treatment of motifs by later composers, who were influenced by Goethe’s complex prototype (1802) as an organic model.(1) I also offer an ‘organic narrative’ for the sonata, using motivic parallelisms as the guiding forces in the discourse. The third and final part relates the motivic parallelisms and other analytical findings to performance. Techniques of ‘performing’ motivic parallelisms are discussed and applied to the Op. 2 No. 3 sonata. The organic perspective is proposed as one avenue through which to understand and enhance a performance of a work. (1) The sonata can also be seen to foreshadow the highly seminal treatment of motifs that was to become more widely used in Beethoven’s later works (such as the Eroica Symphony).

This thesis summarises the important ideologies and concepts of musical organicism in the late eighteenth century and applies them to motivic analysis and performance. Much has been written about the organic nature of Beethoven’s later works, but less has been written about the organic coherence found in his earlier compositions. This study involves a motivic analysis of his Op. 2 No. 3 sonata (1795), for which little or no significant research has been carried out. This musical work is used as an illustration of ways in which musical organicism, motivic analysis, and performance can interrelate. The thesis is in three parts. Part one presents a review of late eighteenth-century ideologies of unity and their musical applications. In the search for an effective means of comparing motivic development with organicism, it is then argued that Schenker’s ‘motivic parallelism’ or ‘concealed repetition’ is considerably undervalued in his analytical framework. Drawing on the insights of Richard Cohn, I endorse a more autonomous treatment of the motivic parallelism in analysis, so that it is an independent unifying tool in its own right and not only a by-product of tonal analysis. Several approaches are applied to the motivic parallelism in order to illustrate how the parallelism can be used in ways normally only associated with the surface motif. Part two of the thesis consists of a detailed motivic analysis of Beethoven’s Op. 2 No. 3 sonata. It is argued that the motivic parallelisms contained in this sonata reflect late eighteenth-century ideals of organicism. I propose that there are several motivic cells found in the opening four bars of the sonata, which recur (or are ‘paralleled’) within all structural levels and over all four movements, unifying the sonata organically as one whole. In this way, I show that the Op. 2 No. 3 sonata can be seen to foreshadow the organic treatment of motifs by later composers, who were influenced by Goethe’s complex prototype (1802) as an organic model.(1) I also offer an ‘organic narrative’ for the sonata, using motivic parallelisms as the guiding forces in the discourse. The third and final part relates the motivic parallelisms and other analytical findings to performance. Techniques of ‘performing’ motivic parallelisms are discussed and applied to the Op. 2 No. 3 sonata. The organic perspective is proposed as one avenue through which to understand and enhance a performance of a work. (1) The sonata can also be seen to foreshadow the highly seminal treatment of motifs that was to become more widely used in Beethoven’s later works (such as the Eroica Symphony).

The aim of the present thesis is to analyse how the narrative affects the various philosophical debates in Tristram Shandy and Jacques le fataliste. Contrary to what one expects from a philosophical novel, Sterne and Diderot do not impose upon the reader an authorial and authoritative discourse. Dominant discourses are constantly challenged and contradicted. The philosophical debates in both novels remain open and are left without a conclusion. The author's voice is but one amongst many others, and it is the narrative which maintains the dialogue between them by preventing one particular voice from invalidating the others. My argument hinges on Bakhtinian dialogism, which can be defined as the presence of interacting voices and views. In Tristram Shandy and Jacques le fataliste, dialogism occurs through the narrative structure allowing for the confrontation of the contradictory discourses in the philosophical debates, and enabling them to engage in dialogue, instead of establishing the authorial voice as the sole valid discourse in the text. Through those contradictions, the philosophical content takes on a different form, that of a refusal of systematic discourse. No dogmatic view is forced upon the reader. Sterne and Diderot do not offer a solution to the various philosophical questions debated in their novels. However, they do offer a philosophical method whereby the confrontation of contradictory ideas creates a dynamic for the pursuit of truth.

The eighteenth century saw the slow but steady rise of the middling classes to their nineteenth century social and cultural prominence, reinforced by a changing political landscape and the steadily increasing importance of the market. As the social and cultural power of the city burghers making up the majority of the middling classes grew, so did they start to consume in a manner to reflect to their new status in society. The question that arises then is more exactly how this group consumed, what types of objects that became important and what type of status that became the most paramount. Since status and social groups can differ greatly between both times and places, focus of this investigation is the burgher elite of Stockholm, the social, economical, and cultural centre of Sweden during the whole of the early modern era. By using a combination of Bourdieu's capital theories and Erving Goffman's theories on the presentation of self the inventories of fourteen elite burgher households has been analysed in order to investigate how these individuals constructed their home to present their own perceived social and cultural status. Through a thorough and theoretical investigation of these early modern front regions it can be revealed that the traditional representations of cultural capital, the main form of symbolic status capital, such as paintings and books, albeit important, constituted but a minor part of the capital presentation in the home. Instead it appears as if the most important status capital is presented through sociability, the ability to host social events or, if that option is unavailable, attend social events. Objects with the express function of sociability, such as tea- and dinner-ware, together with chairs, tables, and fashionable interior decoration suggests that sociability indeed stood at the forefront for the presentation of status for the late eighteenth century Stockholm burgher. At the same time, fashionability appears to have been extremely important, with almost all of the investigated households going to great lengths to stay up to date with the most recent trends in both furniture, colours, literature, and china. Much more research is however needed in order to really understand the structures of status and how it was expressed during the early modern times, and especially comparative studies between estate borders is needed in order to understand the status relations between social groups and how this affected status presentations.

Submitted by Izabel Franco (izabel-franco@ufscar.br) on 2016-10-06T19:02:07Z No. of bitstreams: 1 DissCCCop.pdf: 1603085 bytes, checksum: c353e0d8d25b3cb8c9dc5881dc0b4775 (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-10-20T19:38:29Z (GMT) No. of bitstreams: 1 DissCCCop.pdf: 1603085 bytes, checksum: c353e0d8d25b3cb8c9dc5881dc0b4775 (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-10-20T19:38:34Z (GMT) No. of bitstreams: 1 DissCCCop.pdf: 1603085 bytes, checksum: c353e0d8d25b3cb8c9dc5881dc0b4775 (MD5) / Made available in DSpace on 2016-10-20T19:38:40Z (GMT). No. of bitstreams: 1 DissCCCop.pdf: 1603085 bytes, checksum: c353e0d8d25b3cb8c9dc5881dc0b4775 (MD5) Previous issue date: 2016-02-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Jane Austen is one of the authors who owns a great prestige in the literary scenario, most notably for putting into the light aspects of the English society in which she was linked. Among many subjects described by the scholars, there is one that will be in this dissertation called into question, namely, the representative role of reading for fictional readers in two works written by her, Firstly the novel Sense and Sensibility (1811) whose selected aspect, is triggered by the disastrous reading that the heroin, Marianne Dashwood does; and, on the other hand we will point out a differentiated reading posture, in this case, in Pride and Prejudice (1813), whose tracking seems to indicate an ideal model of character as a reader, with the figure of the protagonist, Elizabeth Bennet. In both texts, we will intend to develop a literary analysis, which considers the political and social aspects, subordinating our work, to Jameson’s levels of interpretation. / Jane Austen é uma das autoras possuidoras de grande prestígio no cenário literário, principalmente por colocar em evidência aspectos da sociedade inglesa à qual estava ligada. Entre muitas questões descritas pelos acadêmicos, existe uma que estará nesta dissertação de mestrado sendo posta em discussão, a saber, o papel representativo da leitura para os leitores ficcionais de duas das obras por ela escrita. Primeiramente, o romance Razão e Sensibilidade (1811), cujo aspecto selecionado é deflagrado por meio da leitura nefasta da heroína, Marianne Dashwood; e, por outro lado, apontaremos uma postura de leitura diferenciada, nesse caso, em Orgulho e Preconceito (1813), cujo caminhar parece indicar um modelo ideal de personagem leitora, com a figura da protagonista, Elizabeth Bennet. Em ambos os textos, buscaremos desenvolver uma análise literária na qual se considera os aspectos políticos e sociais, subordinando nosso trabalho aos níveis jamesonianos de interpretação.

Submitted by Alison Vanceto (alison-vanceto@hotmail.com) on 2017-05-08T12:32:21Z No. of bitstreams: 1 DissDC.pdf: 1279892 bytes, checksum: 049b63912561fe29c0fa323e624ae408 (MD5) / Approved for entry into archive by Ronildo Prado (ronisp@ufscar.br) on 2017-05-10T14:13:38Z (GMT) No. of bitstreams: 1 DissDC.pdf: 1279892 bytes, checksum: 049b63912561fe29c0fa323e624ae408 (MD5) / Approved for entry into archive by Ronildo Prado (ronisp@ufscar.br) on 2017-05-10T14:13:46Z (GMT) No. of bitstreams: 1 DissDC.pdf: 1279892 bytes, checksum: 049b63912561fe29c0fa323e624ae408 (MD5) / Made available in DSpace on 2017-05-10T17:47:53Z (GMT). No. of bitstreams: 1 DissDC.pdf: 1279892 bytes, checksum: 049b63912561fe29c0fa323e624ae408 (MD5) Previous issue date: 2016-08-16 / Não recebi financiamento / The objective of this dissertation is demonstrate by means of a dialectical reading of Preface to Shakespeare (1765) by Samuel Johnson (1709-1784), that the reassessment of the doctrine of the units (action, time and place) no solely unveil the breaking of the English literary criticism with the classical aesthetic but the sign of a deep breaking of the English capitalist society from the eighteenth century with Ancien Régime. The issue (the reassessment of the doctrine of the units) consists in the defense that Johnson does in favor of Shakespeare's plays against the censures of other neoclassical critics, these influenced by French classicism. The defense that English critic undertook in favor of the English poet‘s dramas against the reproaches of neoclassical critics anticipated the rupture of the English criticism with the classical aesthetic. The proposal is treating of the literary and philosophical aspects involved in the chief theme, at last to amplify the horizon of reading through of the notions of structure of feeling by Raymond Williams (1977) and political unconscious by Jameson (1992). / O objetivo desta dissertação é demonstrar, por meio de uma leitura dialética do Preface to Shakespeare (1765) de Samuel Johnson (1709-1784), que a reavaliação das doutrinas das unidades (ação, tempo e lugar) não revela somente a ruptura da crítica literária inglesa com a estética clássica, mas o prenúncio de uma ruptura profunda da sociedade capitalista inglesa do século XVIII com o Ancien Régime. A seguinte questão (a reavaliação da doutrina das unidades) consiste na defesa que Johnson faz a favor das peças de Shakespeare, contra as censuras de outros críticos neoclássicos, estes influenciados pelo Classicismo francês. A defesa que Johnson empreende a favor dos dramas do poeta inglês, contra a acusação dos críticos neoclássicos, antecipa a ruptura da crítica inglesa com a estética clássica. A proposta é tratar dos aspectos literários e filosóficos envolvidos no tema principal, e por fim, ampliar o horizonte de leitura, através dos conceitos de structure of feeling de Raymond Williams (1977) e inconsciente político de Jameson (1992).

Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-01-04T12:40:46Z No. of bitstreams: 1 monalisapavonneoliveira.pdf: 2475482 bytes, checksum: effc51c804d8aa26100feb30433202b6 (MD5) / Approved for entry into archive by Diamantino Mayra (mayra.diamantino@ufjf.edu.br) on 2017-01-31T10:33:07Z (GMT) No. of bitstreams: 1 monalisapavonneoliveira.pdf: 2475482 bytes, checksum: effc51c804d8aa26100feb30433202b6 (MD5) / Made available in DSpace on 2017-01-31T10:33:07Z (GMT). No. of bitstreams: 1 monalisapavonneoliveira.pdf: 2475482 bytes, checksum: effc51c804d8aa26100feb30433202b6 (MD5) Previous issue date: 2016-08-30 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A Irmandade do Santíssimo Sacramento da Igreja Matriz de Nossa Senhora do Pilar do Ouro Preto, no século XVIII, era uma agremiação religiosa de leigos que assim como as outras agremiações coevas deveria: ministrar os sacramentos aos irmãos, cumprir com os itens atinentes a “boa morte”, auxiliar os irmãos em estado de pobreza e doença e realizar as festividades inscritas em seu calendário litúrgico, Corpus Christi e a semana santa. Como particularidade, seria sua responsabilidade para com a comunidade local em geral a construção da igreja matriz e conduzir o viático aos moribundos. A partir da documentação legada pela associação e seus associados, buscaremos conhecer o funcionamento da agremiação, sua estrutura organizacional e o perfil de seus agremiados. Para tanto, a presente tese foi dividida em duas partes: na primeira, procuramos descrever como funcionava a Irmandade do Santíssimo do Ouro Preto a partir do seu compromisso, o regimento interno da instituição, além de analisar os compromissos de associações congêneres na capitania mineira, a fim de estabelecer uma análise comparativa do funcionamento dessa confraria em diferentes localidades. Utilizamos, também, a documentação expedida pela mesa da irmandade, que são resoluções tomadas sobre diferentes matérias, como: construção e obras da matriz, festividades, reforma do compromisso, dentre outros. Analisamos, além disso, a documentação emitida por outras instituições com assuntos referentes às irmandades do Santíssimo na tentativa de identificar quais eram as principais demandas dessas instituições no âmbito das vilas onde estavam instaladas, como: os pedidos feitos às Câmaras e as representações enviadas ao Conselho Ultramarino em Lisboa. Na segunda parte da tese, nos dedicamos a conhecer o perfil socioeconômico dos membros do Santíssimo do Ouro Preto, tentando compreender e demonstrar como as redes de sociabilidade se estabeleciam intrairmandade e a extrapolavam, a partir da documentação relativa aos próprios irmãos do Santíssimo. Para analisar a trajetória dos membros do Santíssimo em Vila Rica arrolamos, primeiramente, os nomes daqueles que exerceram cargos de oficial da mesa, sendo eles: provedor, escrivão, tesoureiro e procurador; além dos nomes dos zeladores da bacia, pessoas responsáveis pelo peditório. Chegamos ao montante de 342 irmãos ao longo do século XVIII. A partir deste rol, buscamos informações em fundos documentais de diversas naturezas como: requerimentos e petições presentes no Arquivo Histórico Ultramarino/ Minas Gerais (CD-Rom Projeto Resgate); inventários e testamentos, no Arquivo Casa do Pilar – Museu da Inconfidência (Ouro Preto/ MG); Registro Geral de Mercês, Habilitações do Santo Ofício e Habilitações da Ordem de Cristo, no Arquivo Nacional da Torre do Tombo (Lisboa/ Portugal). / The Brotherhood of the Blessed Sacrament of the Church of Our Lady of Pilar of Ouro Preto, in the eighteenth century, was a religious school of lay people which, like the other coeval associations, should: administer the sacraments to the brothers, fulfill the details pertaining to the "good death", assist the brothers in poverty and illness, and perform the festivities registered in their liturgical calendar, Corpus Christi and the Holy Week. As a special feature, the construction of the parish church and administration of the Viaticum to the dying would be their responsibility to the local community in general. From the documentation bequeathed by the association and its members, this research seeks to understand the operation of the association, its organizational structure and the profiles of its brothers. Therefore, this thesis is divided into two parts: in the first part, it tries to describe how the Brotherhood of the Blessed Sacrament of Ouro Preto worked, based on its compromisso (statute), the internal regulations of the institution, besides analyzing the statutes of similar associations in the captaincy of Minas Gerais, in order to establish a comparative analysis of the operations of the brotherhood in different locations. The documents issued by the board of the brotherhood, which are decisions made on different topics, such as the construction and the improvements of the parish church, the festivities, the reforms of the statutes, among others, were also used. Besides that, the documentation issued by other institutions with matters relating to the Blessed Brotherhoods were analyzed in an attempt to identify which were the main demands of these institutions in the villages where they were installed, such as the requests made to the town council and the representations submitted to the Overseas Council in Lisbon. The second part of the thesis is dedicated to meeting the socioeconomic profile of members of the Brotherhood of the Blessed Sacrament of Ouro Preto, trying to understand and demonstrate how social networks were established inside the Brotherhood and also beyond it, based on the documentation related to the brothers of the Blessed Sacrament themselves. In order to analyze the history of the Brothers of the Sacrament in Vila Rica, the names of those who exercised official positions in the board were listed firstly, as follows: provider, clerk, treasurer and procurator; in addition to the names of the keepers of the basin, the people responsible for the public collection. 342 brothers were listed throughout the eighteenth century. From this list, information on documentary funds of various types was sought; funds such as: the requirements and petitions found in the Arquivo Histórico Ultramarino/ Minas Gerais (CDRom Projeto Resgate); inventories and wills, in the Arquivo Casa do Pilar – Museu da Inconfidência (Ouro Preto/ MG); Registro Geral de Mercês, Habilitações do Santo Ofício and Habilitações da Ordem de Cristo, in the Arquivo Nacional da Torre do Tombo (Lisboa/ Portugal).