Os vínculos identitários associados ao toureio estão presentes na formação de um conceito de Espanha, apropriados por diferentes grupos ao longo dos séculos, e referendados por todos eles. A reflexão da historiografia presente na dissertação, indica a possibilidade de as touradas a pé profissionais terem se tornado o amálgama geográfico cultural no século XVIII, de uma sociedade aglutinada por um ritual espetacularizante, onde uma rigorosa estética se configurou como o cumprimento indissolúvel de uma nova ética burguesa, articulada por trabalhadores urbanos. Esse percurso de transferência das projeções simbólicas das touradas cavalheirescas nobres para as touradas a pé profissionais foi o resultado de um processo de crise e consequentemente de busca de novas alternativas de reiteração social e outros significados para o toureio. Assim, por meio de testemunhos documentais do século XVIII, na voz de um dramaturgo ilustrado, um cavaleiro plebeu e um famoso toureiro, perscrutamos os caminhos das apropriações identitárias e de que maneira aparecem como processos constitutivos de um sentido de Espanha, para a historiografia taurina contemporânea. / The identity ties associated with bullfighting are present in the formation of a concept of Spain, appropriated by different groups throughout the centuries, and endorsed by all of them. The reflection of the historiography present in the dissertation indicates the possibility that professional bullfights have become the cultural geographic amalgam in the eighteenth century, a society agglutinated by a spectacular ritual, where a rigorous aesthetic was configured as the indissoluble fulfillment of a new Bourgeois ethics, articulated by urban workers. This transfer of the symbolic projections of the noble chivalrous bullfights to the professional bullfights was the result of a crisis process and consequently of search of new alternatives of social reiteration and other meanings for the bullfighting. Thus, through documentary testimonies of the eighteenth century, in the voice of an illustrated dramatist, a plebeian knight and a famous bullfighter, we investigate the paths of identity appropriation and how they appear as processes, that constitute a sense of Spain for bullfighting historiography contemporary.

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Aussi nommés hommes de loi, les juristes se sont naturellement passionnés pour cette source du droit au xviiie siècle, prenant part aux débats juridiques et politiques de ce siècle nomophile. S'ils reprennent la traditionnelle distinction entre loi naturelle et loi positive, c'est principalement cette dernière qu'ils développent, étant ici les témoins et les acteurs de la laïcisation et de la rationalisation de l'ordre juridique. Atteinte dans son fondement divin, la loi naturelle perd de son aura paradigmatique ; la raison humaine suffit à en percevoir le contenu et à établir la loi positive. Celle-ci s'affirme face aux autres sources du droit comme expression privilégiée de la volonté royale et comme moyen de l'unification du droit face à un pluralisme juridique de plus en plus contesté mais néanmoins persistant. Cependant, face à la peur du despotisme qui saisit le siècle, et tout particulièrement sa seconde moitié, la volonté royale, dénoncée dans ses possibilités d'arbitraire, est redoutée. Son expression, la loi, est alors mise sous tutelle, les juristes militant pour l'instauration d'un contrôle juridictionnel de la conformité de celle-ci à des normes de référence conçues extensivement. L'avènement de la nation, nouvel acteur politique vivifié par les appels aux États généraux, vient renouveler le débat. Revendiquant la souveraineté, elle se voit confier la puissance législative et la loi, désormais conçue comme l'expression de la volonté générale faisant le lien entre l'individu et la nation, trace la voie de l'émancipation du peuple. La Révolution française concrétise ces acquis théoriques, ouvrant à la loi les portes d'un long règne / Also called men of law, jurists had a natural passion for this source of law in the eighteenth century, taking part in the legal and political debate of this century. If they used the traditional distinction between natural law and positive law, they mainly developed the latter, being the witnesses and the actors of the secularization and the rationalization of the legal order. Criticized for its divine foundation, the natural law lost its paradigmatic aura ; human reason was enough to understand it and to establish the positive law. The latter asserted itself on the face of the other sources of law as the expression of the royal will and as the means of the legal system unification against a controversial legal pluralism which was nevertheless persistent. However, as despotism struck this century, and especially the second half, the royal will was feared because of possible arbitrariness. The law, as its expression, should be placed under supervision. Jurists thus campaigned for the instauration of a judicial review of law conformity with extensively considered reference standards. The emergence of the nation, new political actor invigorated by the States General being called, renewed the debate. The nation claimed sovereignty and received legislative power, and the law, from now on conceived as the expression of the general will that connected individuals and the nation, led the way to French people’s emancipation. The French Revolution carried out this theoretical progress and opened the door to a long reign for the law

Notre hypothèse est que la réflexion de Diderot dans les Salons ne porte pas tant sur l’image que sur le langage : la confrontation avec les œuvres d’art l’oblige à questionner la langue. Traduire l’image permet d’expérimenter les limites expressives de la langue, de saisir ses conditions d’apparition, son origine. La présente étude se donne trois objectifs principaux. Remettre les Salons au cœur des pratiques d’écriture des salonniers. La critique d’art est à envisager non seulement au regard des idées nouvelles défendues par les salonniers, mais aussi de leurs expérimentations formelles. En examinant les textes antérieurs et postérieurs aux Salons se dessine la genèse de la critique d’art comme genre littéraire. À l’autre extrémité des influences, cette étude explore les Salons en les plaçant au cœur de l’ensemble de l’œuvre de Diderot. Diderot y approfondit ses intuitions théâtrales et esthétiques, développe ses thèses sensualistes et matérialistes, sa philosophie morale, ses idées politiques et physiologiques, affine sa conception de la langue. Les Salons l’accompagnent dans son cheminement intellectuel et dépassent le commentaire des œuvres exposées. La critique d’art est laboratoire d’écriture et de pensée. Plus encore, sa critique d’art pose avec une acuité toute particulière l’un des grands problèmes du tournant des Lumières : le conflit naissant entre nature et culture, dont le langage devient l’un des lieux d’interrogation privilégié. C’est à la question du langage que nous avons choisi de nous intéresser, parce que ses fonctions sont emblématiques des tensions du texte. Le langage peut servir à communiquer avec les autres, à échanger. Mais il a également la capacité de figurer, de créer une image dans l’esprit. Il permet enfin de s’interroger sur lui-même. Une involution semble poindre dans les Salons : c’est à partir des discours sur l’art comme lieux de sociabilité que Diderot réfléchit à la langue originelle. / My thesis is entitled “La mise en question du langage dans les Salons de Diderot”. It aims at showing that Diderot’s art critic does not focus so much on image than on language, or more precisely on the fact that, when looking at a painting, Diderot is compelled to question language. In the Salons, he tries to make pictures arise from words and to give speech and voice to images. Three aspects of the relationships between image and language arise, and make up the three parts of my thesis. First of all, Diderot talks about the paintings of the Louvre’s exhibitions. The Salons are part of Grimm’s Correspondance littéraire, whose subscribers are all members of European monarchies. While he depicts paintings, Diderot always keeps in mind that these very urbane readers expect to be entertained. Speech about art need to remain close to playful conversation in order to entertain the elite. I studied Diderot’s borrowings from other art critics, thanks to the “Collection Deloynes” in which are gathered all texts from the eighteenth century about the Louvre’s exhibitions. Working on this collection enable me to prove Diderot’s influence on evolution of art criticism considered as a literary genre. The second part of my thesis focuses on the language of image. Diderot also tries to invent a language that imitates image, whose structure and phrasal progression match the dynamic of the painting. He adapts his writing to pictures until he reaches sometimes the limits of syntactic structure. Finally, Diderot questions the ability of words to convey images, which lead him to a metalinguistic reflection. Paintings are perceived as a gestural form of language which gives clues to understand the origins of language. My research consists in proving that there is a kind of “involution” of language in Diderot’s art critic. Whereas evolution led language from nature to urbanity, in the Salons, being confronted to images, Diderot seems to go the way back, from urbanity to nature.

Cette thèse porte sur les gestes et attitudes qui ont caractérisé la figure aristocratique dans l’art européen entre 1661 et 1789. Cet intervalle correspond à la durée de vie d’un paradigme corporel noble appelé « le bon air et la bonne grâce », de son élaboration à la cour de Louis XIV et de sa diffusion hégémonique en Europe, jusqu’à son rejet définitif à la Révolution française. La société d’Ancien Régime a déployé tout un arsenal de moyens (exercices, instruments orthopédiques,…) pour intérioriser une grâce qui devait paraître innée et prouver la noblesse. Le maître à danser détenait le monopole de l’inculcation de cette grâce et de son élaboration suivant des critères hautement esthétiques. Les gestes et positions inventoriés ici, sont décrits et associés à leurs connotations d’origine, montrant qu’une connaissance approfondie et minutieuse de la gestuelle peut affiner notre compréhension d’un large pan de l’art des XVIIe et XVIIIe siècles. L’auteur démontre que cette hexis corporelle contemporaine transcende tous les domaines concernés par le corps noble (éducation, théâtre, danse, opéra, arts martiaux, etc.) et en vient à infiltrer la majorité des genres picturaux, bousculant les traditions artistiques déjà en place et s’affichant comme une alternative moderne à la grâce des Anciens. Le portrait, la gravure de mode, les figurines de porcelaine, les vues de villes et de jardins sont les plus touchés par ce phénomène. La bonne grâce s’affirme ainsi dans une culture visuelle qui, par ricochet, en vient à renforcer les pratiques sociales dont elle était le reflet. Cet aller-retour des attitudes aristocratiques entre l’art et la vie occasionne la standardisation de la figure et du corps aristocratiques. Dans la pastorale, la peinture d’histoire et la scène de genre, l’idéal aristocratique se manifeste, tantôt en négatif dans la figure du paysan, du Pierrot et de l’Arlequin, tantôt de manière idéalisée dans celles du berger et du héros galants. La substitution de gestes emphatiques et d’expressions faciales explicites par une gestuelle fondée sur la retenue et la dissimulation des passions, fondera une nouvelle historia moins lisible que la traditionnelle, mais plus subtile et insinuée, répondant ainsi mieux au goût et à la sensibilité aristocratique. / This thesis concerns the characteristic gestures and attitudes of the aristocratic figure in European art between 1661 and 1789. This period corresponds to the lifetime of a noble bodily ideal named “le bon air” and “la bonne grâce”, from its formulation at Louis XIV’s court and hegemonic propagation until its decline with the French Revolution. A panoply of means (exercises, orthopaedic instruments…) have been invented by the Ancien Régime society to embody a grace that should appear inborn and testify to noble birth. The dancing-master enjoyed the monopoly of inculcating this grace and elaborating it in accordance with highly aesthetic criteria. Most of the bon air and bonne grâce gestures and postures are here catalogued, described and associated with their original connotative values, showing that a deep and meticulous knowledge of body techniques can sharpen our understanding of a great proportion of Early Modern artworks. The author agues that this bodily habitus transcended every field concerned with the noble body (education, theatre, dance, opera, martial arts…) and came to infiltrate most pictorial genres, challenging age-old artistic traditions and imposing itself as a modern alternative to the grace of the Ancients. Portraiture, fashion plates, porcelain figurines, city and garden landscapes were the most affected by this phenomenon. Bonne grâce thus affirmed itself in a visual culture, which in return reinforced the very social practices that mirrored. The circular migration of aristocratic gestures between life and art caused a standardisation of both aristocratic body and figure. Within pastoral, history painting and genre scenes, the aristocratic ideal reveals itself antithetically in the figure of the peasant, the Pierrot and the Harlequin, and idealistically in those of the gallant shepherd and gallant hero. The substitution of emphatic gestures and strong facial expressions for ones based on restraint and dissimulation gave birth to a new historia that was less legible, but more subtle and suggestive, in accordance with aristocratic taste and sensibility.

Os vínculos identitários associados ao toureio estão presentes na formação de um conceito de Espanha, apropriados por diferentes grupos ao longo dos séculos, e referendados por todos eles. A reflexão da historiografia presente na dissertação, indica a possibilidade de as touradas a pé profissionais terem se tornado o amálgama geográfico cultural no século XVIII, de uma sociedade aglutinada por um ritual espetacularizante, onde uma rigorosa estética se configurou como o cumprimento indissolúvel de uma nova ética burguesa, articulada por trabalhadores urbanos. Esse percurso de transferência das projeções simbólicas das touradas cavalheirescas nobres para as touradas a pé profissionais foi o resultado de um processo de crise e consequentemente de busca de novas alternativas de reiteração social e outros significados para o toureio. Assim, por meio de testemunhos documentais do século XVIII, na voz de um dramaturgo ilustrado, um cavaleiro plebeu e um famoso toureiro, perscrutamos os caminhos das apropriações identitárias e de que maneira aparecem como processos constitutivos de um sentido de Espanha, para a historiografia taurina contemporânea. / The identity ties associated with bullfighting are present in the formation of a concept of Spain, appropriated by different groups throughout the centuries, and endorsed by all of them. The reflection of the historiography present in the dissertation indicates the possibility that professional bullfights have become the cultural geographic amalgam in the eighteenth century, a society agglutinated by a spectacular ritual, where a rigorous aesthetic was configured as the indissoluble fulfillment of a new Bourgeois ethics, articulated by urban workers. This transfer of the symbolic projections of the noble chivalrous bullfights to the professional bullfights was the result of a crisis process and consequently of search of new alternatives of social reiteration and other meanings for the bullfighting. Thus, through documentary testimonies of the eighteenth century, in the voice of an illustrated dramatist, a plebeian knight and a famous bullfighter, we investigate the paths of identity appropriation and how they appear as processes, that constitute a sense of Spain for bullfighting historiography contemporary.

Made available in DSpace on 2016-04-28T14:16:37Z (GMT). No. of bitstreams: 1 Edaival Mulatti.pdf: 1316493 bytes, checksum: 2ddebbfbb24364b182ea454f86c50397 (MD5) Previous issue date: 2008-10-23 / The Royal Institution, English organization founded at the end of the eighteenth century in London and existing in this day and age as an institution dedicated to research in the theory and dissemination of science, was born with the purposes of an institution of public character, depending on financial contributions. Within a conception of science, categorized by its founders as "useful science," the Royal Institution had as main goals, the diffusion of knowledge and application of science in the life of the population. For the present work, we studied up some of the social and political circumstances present in England at the end of the eighteenth century, and provided evidence to the understanding of the reasons that enabled the creation of that institution. Also, we tried to identify in the creation and consolidation of that institution, the role played by personalities of the time, as Joseph Banks, Benjamin Thompson, Thomas Young, Thomas Garnett and Humphry Davy. This work was based on the study of the following documents: "Proposals for forming by subscription, in the Metropolis of the British Empire, the Public Institution for diffusing the knowledge and facilitating the general introduction of useful mechanical inventions and improvements, and for teaching, by Philosophical Lectures and courses of Experiments, the application of science to the common purposes of life.", document-creation of the Royal Institution, authored by Benjamin Thompson and dated March 1799,"The discourse introductory to the Course of Lectures on Chemistry , Delivered in the Theatre of the Royal Institution, on the 21st of January, 1802," inaugural lecture of the Royal Institution Humphry Davy, and "The Bakerian Lecture, on some chemical Agencies of Electricity," lecture in which Davy presented the results of their research on electrolysis, made the Royal Institution and presented at the Royal Society on November 20 de1806. The focus of this work was in the study of the model for dissemination of knowledge established on the origins of the Royal Institution, as well as some of the changes that have made this model a strong point of support for the Royal Institution to be seen, at the beginning of the nineteenth century, as a major scientific institutions of England / The Royal Institution, organização inglesa fundada no final do século XVIII em Londres e existente nos dias de hoje como uma instituição voltada a pesquisas no campo teórico e divulgação da ciência, nasceu com os propósitos de uma instituição de caráter público, dependendo financeiramente de contribuições. Dentro de uma concepção de ciência, categorizada por seus fundadores como ciência útil , a Royal Institution tinha como principais objetivos, a difusão do conhecimento e aplicação da ciência na vida da população. Para o presente trabalho, estudou-se algumas das circunstâncias sociais e políticas presentes na Inglaterra no final do século dezoito, e que forneceram elementos para o entendimento dos motivos que propiciaram a criação de tal instituição. Procurou-se também identificar, na criação e consolidação dessa Instituição, o papel desempenhado por personalidades da época, como Joseph Banks, Benjamin Thompson, Thomas Young, Thomas Garnett e Humphry Davy. Esta dissertação baseou-se no estudo dos seguintes originais: Proposals for forming by subscription, in the Metropolis of the British Empire, a Public Institution for diffusing the knowledge and facilitating the general introduction of useful mechanical inventions and improvements, and for teaching, by courses of Philosophical Lectures and Experiments, the application of science to the common purposes of life , documento de criação da Royal Institution, de autoria de Benjamin Thompson e datado de março de 1799, A discourse introductory to a Course of Lectures on Chemistry, Delivered in the Theatre of the Royal Institution, on the 21st of January, 1802 , palestra inaugural de Humphry Davy na Royal Institution, e The Bakerian Lecture, on some chemical Agencies of Electricity , palestra na qual Davy apresentou os resultados de suas pesquisas sobre eletrólise, efetuadas na Royal Institution e apresentadas perante a Royal Society em 20 de novembro de1806. O ponto central desse trabalho situou-se no estudo do modelo de difusão do conhecimento formulado nas origens da Royal Institution, bem como em algumas de suas modificações que fizeram desse modelo um forte ponto de apoio para que a Royal Institution se projetasse, no início do século dezenove, como uma das principais instituições científicas da Inglaterra

This dissertation studies the emergence of literary history and criticism in the Americas during the eighteenth century. It focuses upon the study of 1.) Natural history as a matrix of literary history and criticism; 2.) The geopolitical functions of literary history and criticism in the periodical press; and 3.) The recovery of manuscripts as a residual product of modernity. Texts associated with a hegemonic Enlightenment, such as “Disertación sobre el derecho público universal” by Francisco Javier de Uriortúa, are analyzed. Next, we study modern historical-critical thought as emphasized in the periodical press of Bogotá and Quito. Finally, the circulation of manuscripts is studied as an indicator of the participation of Spanish American authors in discussions about the Enlightenment. For the latter, the dissertation analyzes the development of theories of good taste in El Nuevo Luciano de Quito by Eugenio Espejo and in the Plan elementál del buen gusto en todo genéro de materias by Manuel del Socorro Rodríguez de la Victoria. The study challenges the epistemological conflict provoked by the handwritten condition of a considerable portion of scholarship from the eighteenth century, in which the projects of an American modernity become subjugated by the power of European print.

Le corpus épique du 18e siècle en France, en Angleterre, en Pologne et au Danemark révèle trois types de survivance de l’épopée : (1) une survivance théorique dans la poétique spéculative (dont le modèle relativement incontesté est au 18e siècle l’Art poétique de Boileau), (2) l’épopée héroïque (comme la Henriade de Voltaire), toujours critiquée pour ses imperfections ; et (3) l’épopée comique (sur le modèle du Lutrin de Boileau), au succès bien plus unanime tant au 18e siècle qu’au regard de la postérité : The Rape of the Lock d’Alexander Pope, Peder Paars de Ludvig Holberg, Myszeis d’Ignacy Krasicki. L’épopée ne pourrait-elle ainsi survivre qu’au prix de sa dégradation de l’héroïque au comique ? Le poème héroïque serait-il donc tant étouffé par ses règles qu’il ne puisse exister dans la modernité qu’au prix d’un burlesque libérateur qui en relâche l’emprise ? Si, depuis la fin du 17e siècle, les échecs du genre épique sont régulièrement attribués à sa surthéorisation, il semble pourtant que l’héroïcomique se révèle au 18e siècle la forme par excellence de la régularité poétique. Loin d’être étouffé par ses règles, le genre épique tel que le conçoivent des théoriciens et des poètes inspirés par le classicisme français comme Alexander Pope, Ludvig Holberg, Charles Batteux, Ignacy Krasicki ou F. X. Dmochowski est à la fois régulier et vivant. L’efficacité du genre épique, qui englobe alors l’héroïcomique, dépend de son inscription dans un cadre formel « classique » qui se fonde largement sur les relectures de la Poétique d’Aristote au 18e siècle. Le reconstituer, c’est définir une « lisibilité classique » – c’est-à-dire un horizon d’attente esthétique et normatif dans lequel les règles ne sont pas des slogans, mais définissent réellement des pratiques poétiques signifiantes. La thèse explore, dans ses cinq parties, les implications de cette idée au niveau de la réception des textes épiques modernes (I), de la composition de l’ouverture épique conçue comme patrice du poème (II), des représentations de l’inspiration et du rôle du poète épique (III), de la fiction poétique (la « fable », IV) et de la textualité épique (diction et tableaux épiques, V). Les épopées anglaises, danoises ou polonaises étudiées témoignent ainsi des métamorphoses que connaît au 18e siècle le classicisme, européanisé et vivant – quand les ambitions refondatrices de Voltaire s’inscrivent en faux par rapport à une doctrine normative dont le poète français perçoit, moins que certains de ses contemporains, la productivité. / Considering an epic corpus from 18th-century France, England, Poland and Denmark, the epic genre can be said to exist in the 18th century in several forms. (1) As the theoretical object of speculative poetics (the main model of which is Boileau's Art Poétique). (2) As heroic epics, such as Voltaire's Henriade, which may enjoy success but are whose shortcomings are systematically pointed out by critics. (3) As comic epics (heavily influenced by Boileau's Lutrin), which achieve much greater success than their heroic counterparts both in the 18th century and today: Pope's Rape of the Lock, Ludvig Holberg's Peder Paars, Ignacy Krasicki's Myszeis. Can the epic genre then only survive through comic degradation? Is heroic poetry so smothered by speculative rules of art that it can only survive when burlesque subversion relaxes them?Whereas theoretical over-thinking has been, since the late 17th century, the go-to explanation for the many failures of early modern epic poetry, it seems that heroicomic poetry is actually a paragon of poetic regularity in the 18th century. Far from being asphyxiated by its rules, the epic genre as theorized and practiced by men of letters admirative of French neoclassicism such as Alexander Pope, Ludvig Holberg, Charles Batteux, Ignacy Krasicki or F. X. Dmochowski is both regular and very much alive. An epic is even more efficient the better it fits within a neoclassical framework heavily based on 18th-century reinterpretations of Aristotle's Poetics. To formulate this framework amounts to understanding "classical readability", a set of aesthetic and normative expectations within which poetic rules are not empty slogans but describe actual meaningful poetic techniques.This dissertation examines the implications of this idea with respect to the reception of early modern texts in the 18th century (I), how the opening lines of epic poems are seen to program the bulk of the work (II), the representation of the inspiration and social role of the epic poet (III), epic fiction (the "fable", IV), and the composition of the epic text itself (V). The aforementioned English, Danish and Polish epics are testaments to the transformations of neoclassical poetics and poetry through 18th-century Europe, whereas Voltaire's ambitious attempt at a reform of the neoclassical normative doctrine shows that, in contrast to some of his contemporaries, he failed to perceive its poetic conductivity.

Natural resins have been in use for a long time and for manifold purposes resulting in a long and complex terminological history. The investigation of this history has so far been based on the connection between nomenclature and chemical composition. Because resin chemistry and the botanical classification of source plants are connected as well, the investigation of natural resins can be enhanced by adding taxonomy as an additional dimension, providing a more complex and complete picture of resin chemistry and resin use. The Vigani Cabinet, a collection of 300-year-old pharmaceutical and chemical materials owned by Queens’ College, Cambridge (UK), allows doing just that. A wide range of historical literature provides information about contemporary terminology, botanical and geographical origin, manufacture, trade and properties of resinous materials from the 18th century. This contemporary context is a particular feature of the Cabinet, which allows adding a historical dimension to the correlations between terminology, chemical composition and taxonomy. The dissertation thesis presented here provides an investigation of 17 botanical, 80 reference materials and samples from 24 natural resins from the Vigani Cabinet, studying these complex correlations and changes over time. The analytical method employed in this study was gas chromatography-mass spectrometry (GC-MS) with and without methylation with trimethylsulfoniumhydroxide. This technique provided detailed molecular compositions of the studied materials. Analysed botanical samples are taken from Pinaceae, Cupressaceae and Pistacia resins, commerical references from Araucariaceae, Copaifera, Fabaceae, Myroxylon and Burseraceae. Additionally, the soluble fraction of Baltic amber was analysed. Materials from the Vigani Cabinet analysed in this work were labelled as "turpentines", "pix burgundica", "sandaracha", "copaiba", "balsamum peruvianum and tolutanum", "mastiche", "anime", "copal", "elemi", "tacamahaca" and "succinum". Historical nomenclature of natural resins has not always been unequivocally associated with a botanical origin. The availability of natural resins changed throughout the centuries. Lack of knowledge, in particular about resins from over-seas, or adulterations resulting from changing harvesting methods, led to changes in trade names or variations in the composition of products traded under the same name. Generic names were used for resins with similar properties but different botanical (and geographical) origin. The thesis shows that a chemotaxonomic reference system is suitable for the identification of unknown resinous materials, and a number of new insights into the nomenclature of natural resins from the 17th and 18th century is obtained. The study of historical literature contributed in a significant way to the historico-cultural and archeometric research of the samples from the Vigani Cabinet and of natural resins in general and provided a basis for the interpretation of the chemical data from the Vigani samples. / Naturharze werden schon lange für sehr unterschiedliche Zwecke verwendet. Dies hat zu einer oft komplizierten Terminologie geführt, deren Untersuchung sich bisher auf den Zusammenhang zwischen dem Namen des Harzes und seiner chemischer Zusammensetzung stützte. Letztere ist aber auch mit der botanischer Herkunft und damit der Biochemie der Stammpflanze verknüpft, weshalb man chemotaxonomische Aspekte für die systematische Untersuchung von Naturharzen als zusätzliche Variablen nutzen kann. Dadurch erhält man, wie die gezeigt werden soll, ein vollständigeres und komplexeres Bild der Chemie und Nutzung von Naturharzen. Die hier präsentierte Untersuchung beschäftigt sich mit dem Vigani-Kabinett, einer 300 Jahre alten pharmazeutischen Materialiensammlung, die sich im Queens‘ College, Cambridge (UK), befindet. In der Literatur des ausgehenden 17. und des 18. Jahrhunderts finden sich zahlreiche Informationen zu Terminologie, botanischer und geographischer Herkunft, Verarbeitung, Handel und Eigenschaften von Naturharzen. Dadurch wird die historische Dimension des oben beschriebenen Zusammenhangs zwischen Terminologie, chemischer Zusammensetzung und Taxonomie erfahrbar. In der Arbeit werden 17 botanische Proben, 80 moderne Referenzmaterialien und 24 Proben aus dem Vigani-Kabinett im Hinblick auf diese Zusammenhänge und Veränderungen untersucht.Die chemischen Analysen wurden mit gekoppelter Gaschromatografie-Massenspektrometrie mit und ohne Methylierung mit Trimethylsulfoniumhydroxid durchgeführt. Damit konnte die molekulare Zusammensetzung der Proben detailliert untersucht werden. Die untersuchten botanischen Proben stammten von Pinaceae, Cupressaceae und Pistaciaharzen, kommerzielle Referenzen von Araucariaceae, Copaifera, Fabaceae, Myroxylon und Burseraceaeharzen. Zusätzlich wurde noch die lösliche Fraktion von Baltischem Bernstein untersucht. Die untersuchten Proben aus dem Vigani-Kabinett waren sowohl englisch als auch Latein mit "turpentines", "pix burgundica", "sandaracha", "copaiba", "mastiche", "anime", "copal", "elemi", "tacamahaca", "balsamum peruvianum and tolutanum" und "succinum" beschriftet. Zusammenfassend lässt sich sagen, dass die historische Nomenklatur von Naturharzen nicht immer eindeutig mit ihrem botanischen Ursprung verknüpft war. Zusätzlich veränderte sich die Erhältlichkeit der Harze im Laufe der Jahrhunderte. Durch fehlendes Wissen, insbesondere für Materialien und Pflanzen aus Übersee, oder Verfälschungen aufgrund von veränderten Fördermethoden veränderten sich die Handelsnamen dieser Materialien oder die Zusammensetzung von Materialien, die unter demselben Namen gehandelt wurden. Harze mit ähnlichen Eigenschaften aber unterschiedlichen botanischen (und geographischen) Ursprungs trugen generische Namen. Die Arbeit zeigt jedoch, dass ein chemotaxonomisches Bezugssystem die Identifizierung von unbekannten Harzen ermöglicht, und zeigt eine Reihe neuer Erkenntnisse über die Nomenklatur von Naturharzen des 17. und 18. Jahrhunderts. Die Untersuchung historischer Quellen trug dabei sehr zur Erhellung des historisch-kulturellen und archeometrischen Hintergrundes und zur Interpretation der chemischen Daten der Vigani-Proben bei.