Este trabalho propõe uma reflexão (auto)crítica sobre a poesia atribuída ao poeta luso-brasileiro Inácio José de Alvarenga Peixoto (1744-1792). Para a realização dessa reflexão, discute-se testemunhos significativos da fortuna crítica desse autor desde o século XIX até os dias atuais, com o objetivo de compreender a leitura hegemônica dessa poesia. Em seguida, propõe-se uma breve reflexão sobre os pressupostos filológicos que regraram as edições realizadas desse corpus poético nos últimos dois séculos, com o intuito de demonstrar as suas limitações e algumas de suas implicações problemáticas à atividade da crítica literária. Propõe-se, também, a necessidade de reconhecer os textos que compõem esse corpus poético como uma alteridade, e de valorizar a sua materialidade, a despeito da progressiva desmaterialização do conceito de obra que se faz notar na atividade da crítica romântica e da filologia de base neolachmanniana. Por fim, mobiliza-se os resultados das reflexões realizadas para a produção de uma reedição desses poemas. Essa reedição é produzida a partir de critérios cumulativos, negando a pertinência do processo de seleção de variantes autorizadas por meio da colagem de testemunhos para reconstruir um texto genuíno que expresse a última vontade autoral. De modo geral, este trabalho busca, acima de tudo, conferir à materialidade dos poemas atribuídos a Alvarenga Peixoto uma posição central no debate sobre essas produções coloniais setecentistas. / In this thesis, I propose a (self-)critical reflection on the poetry attributed to the Luso-Brazilian poet Inácio José de Alvarenga Peixoto (1744-1792). In order to carry out this discussion and understand the hegemonic interpretation of that poetry, I analize some significant texts from Alvarenga Peixotos critical fortune from the early nineteenth century to the present day. Then, I propose a brief discution on the philological assumptions adopted by the editors of that poetic corpus on the last two centuries, to demonstrate their limitations and some of the problematic implications they cause to literary criticism. I also propose the relevance of recognizing the otherness of those texts, and the need of valuing their materiality, in spite of the progressive dematerialization of the concept of (literary) work, that can be noticed on the romantic literary criticism and the neolachmannian philology. Lastly, I mobilize the results of the mentioned discussions to re-edit the poems attributed to Alvarenga Peixoto. This re-edition is built uppon cumulative criteria, denying the relevance of the process of selecting authorized variants through the comparison of the known manuscripts to build a genuine text, that represents the final authorial intention. Overall, this thesis intends to give a central position on the debate over the colonial productions of the eighteenth century to the materiality of the edited poems.

Submitted by isabela.moljf@hotmail.com (isabela.moljf@hotmail.com) on 2017-03-03T12:48:44Z No. of bitstreams: 1 eliasfelipedesouzacruz.pdf: 484953 bytes, checksum: 72c25bbe2fd4cd4ce473453cb0e6648b (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-03-06T20:07:11Z (GMT) No. of bitstreams: 1 eliasfelipedesouzacruz.pdf: 484953 bytes, checksum: 72c25bbe2fd4cd4ce473453cb0e6648b (MD5) / Made available in DSpace on 2017-03-06T20:07:11Z (GMT). No. of bitstreams: 1 eliasfelipedesouzacruz.pdf: 484953 bytes, checksum: 72c25bbe2fd4cd4ce473453cb0e6648b (MD5) Previous issue date: 2009-01-23 / Analisa o papel desempenhado pelas visitas pastorais realizadas em Minas Gerais na primeira metade do século XVIII. Faz isso através da apreciação dos diversos instrumentos normativos e regimentos eclesiásticos que dispunham sobre a vida religiosa no mundo luso-americano, juntamente com alguns documentos produzidos pelas visitas realizadas nas freguesias da Comarca do Rio das Mortes. A partir do debate com a historiografia, problematiza a periodização dos usos das normas, o papel e funcionamento das visitas pastorais, algumas especificidades processuais das visitas nas Minas e sobretudo a relação existente entre o poder episcopal representado pelas visitas pastorais e o Tribunal do Santo Ofício da Inquisição portuguesa. / The present work analyzes the role played by pastoral visits that took place during the first half of the eighteenth century at Minas Gerais, Brazil, through the appreciation of various normative instruments and ecclesiastical regiments that displayed religious life at the lusoamerican world, as well as some documents produced after the visits at Rio das Mortes Judicial District. In addition, this work evokes a debate with historiography and raises questions concerning the period when those norms were used; the role played by pastoral visits and how did they work; some particular processes of the Minas Gerais visits and, especially, the existing relations between episcopal power – represented by those pastoral visits – and the Court of Portuguese Inquisition.

Cette recherche porte sur les textes théoriques qui accompagnent la révolution du jardin moderne dans l’Angleterre et la France des Lumières, et se propose d’étudier sous l’angle de la mimèsis ce corpus aujourd’hui bien connu des spécialistes. Il s’agit de retracer, suivant une progression chronologique, les étapes d’un cheminement intellectuel qui conduit, dans le dernier tiers du 18e siècle, à la reconnaissance du statut libéral de l’art des jardins, désormais compté au nombre des arts de représentation. L’affirmation du caractère mimétique de la composition non narrative qu’est l’œuvre paysagère, a été préparée par l’inflexion sensualiste et hédoniste donnée à la théorie de l’imitation dès le tournant du 17e et du 18e siècle, et le déplacement qui s’opère alors dans le discours sur l’art, d’une poétique vers une esthétique. Deux termes se trouvent au cœur de ce rapprochement de la discipline horticole avec la doctrine de la mimèsis. Tout d’abord, celui de "scène" naturelle, qui permet de saisir, dans l’objet esthétique qu’est le "paysage", une catégorie d’image nouvelle, à la fois liée aux représentations poétique ou picturale, et distincte de celles-ci. Ensuite, celui d’"enchantement", dont l’évolution sémantique révèle les mutations et les tensions qui affectent la pensée du paysage au cours du 18e siècle. / This study is focused on the theoretical writings that are contemporary with the invention and spreading of landscape gardening in 18th-century England and France, and aims to throw new light on a corpus that is now well known to specialists. It maps out the intellectual developments which laid the ground for an integration of garden theory into the system of fine arts based on the concept of mimesis. The assumption that a non-narrative artistic medium such as garden is a representation was anticipated by new developments in aesthetics at the turn of the 17th and 18th centuries, whereby the theory of imitation was reinterpreted on the basis of sensualist and hedonist assumptions. Two notions are instrumental in assimilating the practice of gardening with the making of visual replicas. First, the concept of "natural scene", which identifies landscape as a new category of picture, both distinct from - and linked with - pictorial and poetic images. Secondly, a specific sort of aesthetic illusion that involves a dynamic process, usually referred to by contemporaries as "enchantment". The semantic evolution of the latter term during the 18th century, and its various meanings in the context of landscape and garden design, enables us to better apprehend the antagonisms that shape this field of thought.

De nos jours souvent kitsch et touristique, l’éventail européen -fragile objet féminin associé à la mode- a été mal apprécié et reste méconnu. Construite pour cette thèse à partir de collections publiques ou privées et de ventes publiques, une base de données éclectique permet, par une approche statistique, d’interroger 2350 objets et d’en étudier principalement les sujets au cours d’un très long XVIIIe siècle. Une vingtaine de monographies focalise le regard sur des éventails des diverses catégories déterminées. À travers le dialogue entre statistiques et monographies, éclairé par l’observation de l’art et de la société contemporains, l’éventail apparaît reflet de l’art via les mythes, l’histoire sainte ou ancienne, la peinture morale… ; mais il est aussi témoin voire acteur de la vie sociale, politique, théâtrale, jusqu’à être mis au service de projets économiques ou de la caricature. Éventails « sans histoire », ornés de « bergerades », reflets de la mode ou supports des amusements de société : tous sont porteurs de sens. Ce sens a longtemps été occulté à cause des transformations sociales du XIXe siècle, peut-être aussi car les éventails pouvaient à l’origine être un espace de liberté et de pouvoir des femmes - voire de libertinage ?-. En effet cet objet d’art à la fois public et privé tient, par les sujets qui l’ornent, un véritable discours (largement lié au mariage mais aussi à l’amour) dont la femme était à la fois destinataire et locutrice. Il convient, en étudiant les objets, d’apprendre à en déchiffrer les messages : leur compréhension pourrait être utile à diverses disciplines. / Nowadays fans are often kitsch and for tourists. Associated with fashion, these fragile feminine objects have been misjudged and remain unknown. Built for this thesis from public and private collections and public sales, an eclectic database is capable, thanks to a statistical approach, to query and study 2350 items. This study deals mainly with the topics on fan leaves during a very long Eighteenth Century. Twenty monographs are focusing on objects of the various determined categories. Statistics and monographs, informed by the observation of contemporary art and society, enter into dialogue. The Fan appears as a reflection of art through myths, sacred and ancient history, and morality painting. But it is also a witness or an actor in the social, political, and theatrical life, and even used for promoting economic projects or for caricature. Almost all fans carry a meaning, even those "without history", adorned with pastoral scenes, seemingly only mirrors of fashion or occasions of entertainment. This meaning has long been obscured because of the social transformations of the Nineteenth Century, perhaps for the reason that fans were originally an area of freedom and power of women - even going to libertinism? - For this objet d’art, both public and private, speaks, through the subjects that adorn it, a real speech (largely related to marriage but to love as well). Woman was both recipient and speaker. Studying these objects and learning to decipher their messages would improve their understanding and benefit various disciplines.

Cette thèse analyse le contenu idéologique exprimé à travers les unités lexicales du vocabulaire du premier journal imprimé périodique en langue portugaise, la Gazeta de Lisboa. Elle vise également à mettre en évidence les stratégies linguistiques et discursives conçues socialement et par lesquelles les utilisateurs d’une langue expriment leurs opinions et leurs points de vue à travers le lexique. Cette étude est liée à la théorie linguistique de la Lexicologie, développée dans une perspective discursive, fondée sur un modèle dialogique de l’énonciation, qui considère les mots comme porteurs de la mémoire d’usages. Nous partons du point de vue que le dialogisme est inscrit dans les mots et que le choix des unités de la langue utilisées dans les énoncés est négocié par l’interaction entre la réalité et le sens, qui est construit par la circulation de l’information dans la société. Nous avons mené des études sur les relations de signification entre 22 unités lexicales employées dans le corpus dans la narration de situations de désaccord ou de conflit, puis nous avons analysé des unités lexicales co-occurrentes ainsi que les idées qui leur étaient le plus souvent associées. Dans la troisième étape, nous avons évalué des éléments intradiscursifs et interdiscursifs et le genre. Les études menées ici prouvent que le choix des éléments du lexique utilisés pour nommer les référents dans les discours est en partie conditionné par des contraintes imposées par le genre et le discours, qui, ensemble, soulignent le point de vue des participants du discours et la connaissance partagée par la société. / This thesis provides an analysis of the ideological content expressed through the lexical units of the vocabulary of the first newspaper printed in Portuguese, the Gazeta de Lisboa. It also aims to highlight the linguistic and discursive strategies that are designed socially, and by which users of a language formulate their opinions and points of view through the lexicon. This study is linked to the to the linguistic theory of lexicology, developed in a discursive perspective, based on a dialogical model of enunciation, which believes that words carry the memory of past use and therefore have an intertextual dimension that determines their use according to the circumstances of utterance. We start from the stand point that dialogism is recorded in words, and the choice of language units used in the utterances is made on the basis of the interaction between reality andsense, which is built by the circulation of information in society. We selected 22 lexical units employed in the narration of disagreements or conflicts, relations of meaning between these units were analyzed, as well as the co-occurent lexical units and the ideas more often associated with them in the texts. Next, attention was focused on the discursive study of the occurrences of the word war, and we analyzed some intra-discursive and inter-discursive elements, and the gender. The studies made here prove that the choice of the elements of the lexicon used to name the referents in discourse is partly conditioned by the gender and the discursive practices associated with the words, which together highlight the point of view of the participants in the discourse and the knowledge shared by the society.

This study examines the settings in Jane Austen's six novels. Chapter I introduces the topic generally, and refers briefly to Jane Austen's aims and methods of creating her settings. Short accounts are given of the emphasis put on setting in the criticism of Jane Austen's work; of the chronology of the novels; and of the use made of this aspect of the novel in eighteenth-century predecessors. Chapter II deals with the treatment of place in Northanger Abbey, Sense and Sensibility, Pride and Prejudice, Mansfield Park and Emma. The consideration of five novels together makes it possible to generalize about aspects of place common to all , and to discuss particulars peculiar to individual novels without, I hope, excessive repetition. The chapter may be thought disproportionately long, but this aspect of setting is most prominent and important in the delineation of character. Chapter III discusses the handling of spatial detail and time in these five novels. Chapter IV offers a fuller analysis of what is the chief concern of this thesis, the nature and function of setting, in respect of the single novel Persuasion, and attempts to draw together into a coherent whole some of the points made in Chapters II and III. Persuasion separates conveniently from the other works, not only because it was written after them, but more importantly because in it there is a new development in Jane Austen's use of setting. Some critics, notably E.M. Forster and B.C. Southam, have found startlingly new qualities in the setting of Sanditon, and, certainly, the most striking feature of the fragment is the treatment of place. But Jane Austen left off writing Sanditon in March 1817 because of illness, and the twelve chapters make up too small and unfinished a piece to be considered in the same way as the other novels. The Watsons, too, except for some references to it in Chapter I, does not come within the scope of this dissertation. Another introductory point needs to be made briefly. Where it is necessary, the distinction between Jane Austen and the omniscient narrator is observed, but generally, partly because it is clear that Jane Austen's values are close to those of the narrator, and partly because it is convenient, traditional and sensible to do so, the name "Jane Austen" is used to refer both to the actual person and to the narrator of the novels.

Cette thèse a pour but d’étudier, à travers les représentations de la Chine sous la plume des auteurs français et britanniques du XVIIIe siècle, de quelle manière ce pays extrême-oriental a participé aux mouvements intellectuels de l’autre hémisphère. Ayant comme sujet les représentations de la Chine, notre étude est axée moins sur celle qui est représentée (la Chine) que sur ceux qui formulent les représentations (la France et la Grande-Bretagne). En effet, le sujet de la Chine n’est qu’un prétexte dans les écrits de l’époque, par lequel les auteurs s’ingénient, soit à satisfaire leur goût de l’exotisme, soit à défendre leurs propres thèses. Ce n’est donc pas notre but d’approuver ou de critiquer les représentations faites par les auteurs français et britanniques. Nous ne cherchons pas non plus à opposer la « véritable » image de la Chine qu’on trouve dans les sources chinoises de l’époque à l’image « fausse » ou « déformée » sous la plume des auteurs européens. Il s’agit au contraire de montrer comment les auteurs français et britanniques se représentent de façon à construire et à reconstruire leur identité, ce qui caractérise la tendance intellectuelle des Lumières. N’ayant pas l’intention de confronter la « Chine représentée » avec la « Chine réelle », nous effectuons tout de même une étude comparatiste entre les représentations différentes de la Chine faites par les auteurs français et britanniques. Ces différences mettent en évidence la divergence des parcours effectués dans les deux pays au XVIIIe siècle dans l’esprit des Lumières. / Through the representations of China in the writings of French and English authors during the eighteenth century, this thesis aims to study how that Far Eastern country participated in the intellectual movements taking place on the other hemisphere. The topic being the representations of China, our study is focused less on which is represented (China) than on those which make the representations (France and Great Britain). China is often only a pretext in the writings of that period, allowing the authors to satisfy their exotic taste, or to defend their theses. Therefore, it is not our aim to approve of or to criticize the representations made by the French and British authors. We do not seek to oppose the “true” image of China found in Chinese sources of that period to the “false” or “distorted” image in the writings of Europeans authors, but to show how French and British authors represent themselves so as to build and rebuild their identity, which characterizes the intellectual trend of the Enlightenment. Having no intention to confront the “China in the representations” with the “real China”, we nevertheless make a comparative study of the different representations of China provided by French and British authors, which highlights the different approaches to the Enlightenment in France and Great Britain.

This study examines the crisis of identity the United States was experiencing in the nineteenth-century through two of the major literary works of Nathaniel Hawthorne, The Scarlet Letter and The Marble Faun. Hawthorne, who lived through this crucial and important developmental period, was concerned as to what this identity would be, how the United States would shape and define itself, and what its future would be if this identity was malformed. In addition, this study will look at counter-monuments as argued by James E. Young in his essay “The Counter-Monument: Memory against Itself in Germany Today” to expand on these issues of identity. If according to Young, the ideal goal of the counter-monument is “not to remain fixed but to change,” one can conclude that Hawthorne understood that national identity must be fluid; otherwise, the nation would crumble under the pressure and force of change.

Many histories of natural history see it as a descriptive science, as a clear forerunner to modern studies of classification, ecology and allied sciences. But this thesis argues that the story of unproblematic progression from eighteenth-century natural history to nineteenth-century and modern natural history is a myth. Eighteenth-century natural history was a distinct blend of practices and theories that no longer exists, though many individual elements of it have survived. The natural history that I discuss was not solely about collecting, displaying, naming and grouping objects. Though these activities played an important part in natural history (and in many histories of natural history) this thesis focuses on some other key elements of natural history that are too often neglected: elements such as experimenting, theorising, hypothesising, seeking causes, and explaining. Usually these activities are linked to natural philosophy rather than natural history, but I show how they were used by naturalists and, by extension, create a new way of understanding how eighteenth-century natural history, natural philosophy and other sciences were related. The first chapter is about the end of eighteenth-century natural history and looks at the role of the Linnean Society of London. It argues that this society tried to homogenise British natural history through the promotion of the Linnean sexual system of plant classification and through the suppression of the kinds of experimental and theoretical work described in this thesis. To understand that experimental and theoretical work, and to see what British natural history really entailed in this period, three central chapters focus on specific case studies. The second chapter shows how English-based naturalists such as John Ellis (1710-1776) approached the problem of distinguishing plants from animals, and especially about how they used chemical experiments to decide whether things such as coral and corallines should be placed in the animal or plant kingdom. The third chapter discusses sensitive plants and the overlaps between natural history and natural philosophy. It draws on case studies of naturalists who investigated things like plant motion and apparent plant sensitivity with different observational and experimental methods, and tried to explain them using various mechanical and vitalist explanations. The fourth chapter focuses on the controversy over whether plants (like animals) can be male or female and shows the theoretical and experimental tools that naturalists used to address this issue. Together, these chapters give a very detailed insight into the everyday practices and theories used by eighteenth-century naturalists and show the variety of activities that made up the field. The next two chapters focus on the identity and interactions of naturalists and show how they created a distinctive science: the fifth chapter is about how someone in England could go about becoming an authority on natural history in the late eighteenth century; and the final chapter looks outwards from Britain and examines how British natural history influenced, and was influenced by, European natural history; it uses correspondence to examine how British naturalists communicated with their overseas counterparts and what each party gained from those exchanges.

This thesis examines perceptions of lower-class female prostitutes and prostitution in eighteenth-century London. It reveals that throughout the Hanoverian period perceptions of prostitution were shaped by sensibilities about morality, the social order, and sin. To explore attitudes towards prostitution in eighteenth-century London, this dissertation evaluates how governing elites, ecclesiastical authorities, contributors to the newspaper press, and popular commentators discussed prostitution. This dissertation engages with two main assumptions about prostitution in eighteenth-century London. First, it demonstrates that there is more continuity in perceptions of prostitution than historians have recognized; attitudes towards prostitutes did not shift from hostility to sympathy in a straight-forward manner. Second, this dissertation reveals that prostitution was regarded by Augustan and Hanoverian Londoners as a significant social problem because it embodied and encapsulated the seven deadly sins – lust, avarice, pride, envy, gluttony, sloth, and wrath. This thesis suggests that prostitutes’ excessive lust and avarice were not seen as disparate issues, but were often discussed together. Paradoxically, discussants recognized that financial considerations drove some women into prostitution, but these women were regarded as abnormally greedy and corrupt because they resorted to deceptive tactics. Pride and envy were associated with prostitution because Hanoverians believed some prostitutes bought extravagant clothes and cosmetics to conceal their lowly status and enhance their appearance to emulate elites. Hanoverians regarded these prostitutes with trepidation because they threatened to undermine their hierarchically ordered society. Prostitutes’ proclivities towards drunkenness and idleness were associated with gluttony and sloth. Commentators feared that drunken and idle prostitutes would encourage men to engage in these dissolute activities, leading to greater disorder. Wrath was closely associated with prostitution because of its association with violence. Although prostitutes were both the victims and perpetrators of assault, incidents in which prostitutes were assailants were reported more frequently, suggesting that Britons regarded prostitutes as disorderly, sinful criminals. Each chapter also brings attention to concerns regarding prostitutes’ lack of self-control and their apparent ability to cause men to lose self-control; how double standards of morality influenced discussions of prostitution; the consequences of prostitutes’ criminality and ability to deceive Londoners; and the various institutions, organizations, and suggestions proposed and established to reform prostitutes and eradicate sin from society.