O presente trabalho é composto pela apresentação de A inteligência, que desgraça! (1825), do dramaturgo russo Aleksandr Serguéievitch Griboiédov, do universo em que foi escrita, bem como a tradução da obra-prima ao português. Essa primeira tradução carrega os dilemas inerentes à grandiosidade da linguagem e, sendo assim, o primeiro passo, na tradução da obra ao português, segue o caminho do significado para que, no futuro, o significante, complexo e rico, possa ser focado. Depois, tomamos o caminho do Teatro Russo do século XVIII e início do século XIX, seu universo neoclássico, e, ao final, as transfigurações de A inteligência, que desgraça! aos modelos clássicos, essencialmente os conflitos provenientes das ações que trabalham, nas duas tramas principais, de maneira igual. / This present research is composed of a presentation of Gore ot uma (1825), by Russian playwright Aleksandr Griboedov, and of the universe in which it was written, as well as a first step in attempt of translating the masterpiece into Portuguese. This first translation embodies the dilemmas inherent to the greatness of the language and, therefore, the first step, for a translation of the masterpiece into Portuguese, follows the path of the signified, in order that, in the future, the signifier, rich and complex, may be focused. Afterwards, we take the path of Russian Theater from the Eighteenth century to the beginning of Nineteenth century, its neoclassical universe, and, in the end, in Gorie ot umas transfigurations to the classical patterns, essentially the conflicts originated by actions that work, in the two main plots, in a equal manner.

O presente trabalho é composto pela apresentação de A inteligência, que desgraça! (1825), do dramaturgo russo Aleksandr Serguéievitch Griboiédov, do universo em que foi escrita, bem como a tradução da obra-prima ao português. Essa primeira tradução carrega os dilemas inerentes à grandiosidade da linguagem e, sendo assim, o primeiro passo, na tradução da obra ao português, segue o caminho do significado para que, no futuro, o significante, complexo e rico, possa ser focado. Depois, tomamos o caminho do Teatro Russo do século XVIII e início do século XIX, seu universo neoclássico, e, ao final, as transfigurações de A inteligência, que desgraça! aos modelos clássicos, essencialmente os conflitos provenientes das ações que trabalham, nas duas tramas principais, de maneira igual. / This present research is composed of a presentation of Gore ot uma (1825), by Russian playwright Aleksandr Griboedov, and of the universe in which it was written, as well as a first step in attempt of translating the masterpiece into Portuguese. This first translation embodies the dilemmas inherent to the greatness of the language and, therefore, the first step, for a translation of the masterpiece into Portuguese, follows the path of the signified, in order that, in the future, the signifier, rich and complex, may be focused. Afterwards, we take the path of Russian Theater from the Eighteenth century to the beginning of Nineteenth century, its neoclassical universe, and, in the end, in Gorie ot umas transfigurations to the classical patterns, essentially the conflicts originated by actions that work, in the two main plots, in a equal manner.

<p>The purpose of this paper is to examine how the arrival of class society is expressed in the social dance of high society during the second half of the eighteenth century. The study is based on the idea that culture and society develope in interaction; that changes in the economic, political and social life determine the cultural expressions as well. What I wish to examine is whether cultural themes from the developing bourgeois culture – individualism, to be precise – is expressed in the social dance during the second half of the eigthteenth century. // The study shows that public balls definitely gave people a chance to show off on the dance floor in spite of social rank. The assemblies were open to everyone, and there were no formal distinction between the estates. The equality was enforced furthermore in the bal masques. // In spite of this formal equality, there are also signs of public assemblies not being quite the arenas for individual triumph beyond the boundaries of estate that they could be. Comments about dance and individuals are for example way more common in connection to private gatherings than public. When writing about public balls focus is primarily on the attender’s social rang, and more seldom on the dance at all. It’s clear that the mixing of estates was a source of agitation, and also that it was hard for peasants and merchants to compete with the nobility on their home ground. In theory the dance culture was boundary-crossing, but in reality the rift between the estates was still wide.</p>

<p>The purpose of this thesis has been to describe and explain why wholesalers in Stockholm during the eighteenth century acted as they did. This analysis is built on the idea that peoples’ possibilities to act depends on the context in which they live and the person’s network. The starting-point for the analysis is an old discussion if the merchants made any difference in the transformation of society; were they a dynamic element or not? </p><p>In this thesis wholesalers’ social and economic relations are studied from different viewpoints: how they married, how their credit network was built up, and what they consumed. The wholesalers are divided into groups depending on their income. The materials used are inventories, parish registers, registers of tax-payments and biographical books.</p><p>The research shows that the differences in behaviour were small between the income groups. Most of the wholesalers married daughters of other merchants, they lent money to their own family, and they consumed more or less in the same way. There was a big economic gap between the wealthiest wholesalers and the less wealthy. Why their behaviour was nonethless so homogenous depended on their need of a network. The importance of this made them act the same.</p><p>However, the study shows one group that acted a bit differently, wholesalers who belonged to the German congregation. In several ways they were an association in themselves. And the way they act can described as dynamic. Because they did not have an obligation to the Swedish network, they could act differently. </p>

The purpose of this thesis is to, from an institutional approach, study how the Stockholm importers within the textile sector adapted their foreign trade to the change in economic policy 1720 through 1738. The focus is to investigate to what extent the introduction of new laws, regulations etc. can be an explanation for what happened to Stockholm’s foreign trade, mainly imports, particularly textile imports during the period. It is mainly the economic policies that had been enacted during the Hornian government and their effects that have been studied. This is a period that has seldom been studied in other research. This thesis begins when the Russian raids were over. This was a year when the foreign trade still was relatively free and was untouched by the 17th century’s regulations. After 1721 the policies that would be introduced to increase Sweden's level of self-sufficiency and strengthen ties with the North Sea area had several components. Besides the economic policy, the main sources for the thesis are the city toll records. The trade policies in the shape of tolls and fees, import and consumption bans etc. and the commercial policies together became different kinds of political tools used for several purposes. The conclusion of this thesis is that the economic policies made the Stockholm importers adapt their trade to the change. The import bans and sumptuary laws had an effect. The economic policies gave rise to an increase in the import of textile raw materials. The rise in toll costs and import fees contributed to displacing the foreign trade towards other areas. The change in the economic policies was successful in the sense that it gave rise to new conditions for domestic production within the textile sector and forced Stockholm's importers to adapt their foreign trade.

The purpose of this thesis has been to describe and explain why wholesalers in Stockholm during the eighteenth century acted as they did. This analysis is built on the idea that peoples’ possibilities to act depends on the context in which they live and the person’s network. The starting-point for the analysis is an old discussion if the merchants made any difference in the transformation of society; were they a dynamic element or not? In this thesis wholesalers’ social and economic relations are studied from different viewpoints: how they married, how their credit network was built up, and what they consumed. The wholesalers are divided into groups depending on their income. The materials used are inventories, parish registers, registers of tax-payments and biographical books. The research shows that the differences in behaviour were small between the income groups. Most of the wholesalers married daughters of other merchants, they lent money to their own family, and they consumed more or less in the same way. There was a big economic gap between the wealthiest wholesalers and the less wealthy. Why their behaviour was nonethless so homogenous depended on their need of a network. The importance of this made them act the same. However, the study shows one group that acted a bit differently, wholesalers who belonged to the German congregation. In several ways they were an association in themselves. And the way they act can described as dynamic. Because they did not have an obligation to the Swedish network, they could act differently.

The opposition against Gustavus III (1746–1792) had limited access to the printing press, but managed to spread a variety of political pamphlets through clandestine manuscripts. The main purpose of the dissertation is to analyse this communication and thereby enhance our understanding of the political culture of the period. The manuscript published oppositional works against Gustavus III have hitherto been little explored. With source material consisting of 120 manuscript libels, this study makes use of three interrelated methodological perspectives: media analysis, rhetorical analysis and analysis of ideas. The combination of media studies and classical rhetoric is inspired by the works of Peter Burke. Questions of production, distribution and consumption frame the discussions. The libels – published anonymously for fear of persecution – were spread through what Harold Love calls “user publication”. This means that many readers contributed to their distribution and through the act of copying also functioned as co-authors. The majority of the libels originated among the estate of the nobility and their political allies. The authors were often accomplished writers, skilfully using a variety of rhetorical strategies to interest and entertain their readers. When viewed in an international context, the Swedish material is revealed as relatively conservative. The arguments in the Swedish works were generally founded on established and traditional values and ideas, and treated Monarchy and Lutheran Christianity as given institutions which stood unquestioned. In comparison to French libels against royalty, Swedes were also more reluctant to use sexual slander. One explanation for this conservatism is that the authors were aiming for a wide audience, and therefore strove to ground their arguments in common values. Another explanation can be found in the fact that many of the works originated within the noble classes: a privileged group which had much to gain from the preservation of traditional social structures.

The purpose of this paper is to examine how the arrival of class society is expressed in the social dance of high society during the second half of the eighteenth century. The study is based on the idea that culture and society develope in interaction; that changes in the economic, political and social life determine the cultural expressions as well. What I wish to examine is whether cultural themes from the developing bourgeois culture – individualism, to be precise – is expressed in the social dance during the second half of the eigthteenth century. // The study shows that public balls definitely gave people a chance to show off on the dance floor in spite of social rank. The assemblies were open to everyone, and there were no formal distinction between the estates. The equality was enforced furthermore in the bal masques. // In spite of this formal equality, there are also signs of public assemblies not being quite the arenas for individual triumph beyond the boundaries of estate that they could be. Comments about dance and individuals are for example way more common in connection to private gatherings than public. When writing about public balls focus is primarily on the attender’s social rang, and more seldom on the dance at all. It’s clear that the mixing of estates was a source of agitation, and also that it was hard for peasants and merchants to compete with the nobility on their home ground. In theory the dance culture was boundary-crossing, but in reality the rift between the estates was still wide.

Building Opportunity centers on disaster response and recovery after a 7.5-magnitude earthquake destroyed the city of Antigua Guatemala, the capital of colonial Guatemala, on July 29, 1773. It also concentrates on the colonial government’s decision to relocate Antigua Guatemala and establish a new capital, New Guatemala. This dissertation examines how the cultural, economic, political, and social views of inhabitants -- bureaucrats, clerics, Indians, architects, and the poor -- shaped their reactions to the tremor. Furthermore, it contends that the migration from Antigua Guatemala to New Guatemala created socioeconomic opportunities through which individuals made strong efforts to rebuild their lives. Debates on natural catastrophe in colonial Latin America have emphasized the ability of calamity to ignite power struggles over competing ideas about emergency management. However, in addition to an analysis of such disputes, this dissertation advances new understandings of the ways in which the earthquake gave victims chances to reshape their world. How did individuals' beliefs influence their attitudes toward the cataclysm? How did the effort to create a new city forge openings for survivors to refashion their identities? This study shows that individual groups' notions of fear, hazard mitigation, history, and socioeconomics defined arguments about whether or not to move. It also demonstrates that the tragedy produced spaces in which officials, ecclesiastics, indigenous peoples, and the impoverished worked to improve their lives. In various ways, administrators and victims turned adversity into an opportunity to become disaster managers and survivors, respectively. / text

Le présent mémoire porte sur l’un des peintres néerlandais les plus connus de son époque, Cornelis Troost (1696-1750). Celui-ci tire son succès du traitement et de l’originalité de ses sujets dans la confection de ses scènes de théâtre, dont cinq sont abordées ici. Troost fut lui-même acteur de profession avant de se consacrer au métier de peintre. Tout comme les œuvres de Troost, l’art hollandais du XVIIIe siècle est un sujet rarement abordé en histoire de l’art. Plusieurs éléments historiques des Pays-Bas, notamment certains des bouleversements politiques, sont indispensables afin d'acquérir une meilleure compréhension des œuvres théâtrales de Troost. Dans ses scènes de théâtre, Troost embrasse le côté théâtral de celles-ci. Ses œuvres portent le même titre que les pièces desquelles elles sont tirées. De plus, Troost introduit ses personnages de près et cette particularité met l'accent sur les émotions des personnages et sur l’action. Un parallèle est tracé avec Jan Steen et Gérard De Lairesse, eux-mêmes des artistes hollandais s’inspirant du théâtre. La narration dans les œuvres de Troost est également un point important afin de bien comprendre ses scènes de théâtre. / This master’s thesis focuses on one of the most famous Dutch painters of his time, Cornelis Troost (1696-1750). Troost’s success derives from the originality of his subjects in the theatrical scenes he depicts five of which are discussed here. Troost himself was a professional actor before devoting himself to the art of painting. Dutch art of the eighteenth century is a topic rarely discussed in art history. Several elements of Netherlandish history, including political changes, are essential in order to acquire a better understanding of Troost's theatrical work. Troost embraces the theatrical source. His works of art bear the same title as the plays from which they are drawn. Troost puts the emphasis on his characters, and this feature helps to put the focus on the emotions of the characters and the action. A parallel is made with Jan Steen and Gerard De Lairesse, other Dutch artists who were inspired by the theatrical world. The narrative aspect in the works of Troost is also an important aspect which needs to be approached in order to understand his theater scenes.