This thesis examines the philosophy of Henry Fielding as expressed in his novel, Tom Jones as it relates to the prevailing philosophical thought of eighteenth-century England.

REpresentational State Transfer or REST is the software architecture style most commonly used for Web Application Programming Interfaces (APIs) and was first defined in 2000 by Roy Thomas Fielding in his PhD dissertation Styles and the Design of Network-based Software Architectures and became a standard for the design of the early World Wide Web and Web-based software. The REST standard continues to be influential in the design of Web systems today, however, it was defined over 15 years ago when the Web was still in its infancy. This paper analyzes REST as it was originally defined by Fielding in 2000 and investigates the validity of its original principles in the modern Internet and Web APIs by sampling a number of prominent APIs and their use of REST. REST definitely has drawbacks for certain types of APIs as evidenced by deviations in the majority of sampled APIs. It is not popular with services that are difficult to represent in REST's resource model. However, REST’s popularity has not noticeably decreased since it was defined rather it has most likely increased. Additionally, each use case that is unsupported by REST goes against some REST constraints that crucial in other areas of it implementation. In conclusion, RESTful properties were not only relevant in the late 1990s and early 2000s but continue to be relevant today as evidenced by its continued widespread use by reputable Web APIs.

Thesis. / Includes bibliographical references.

Thesis (Ph. D.)--University of Chicago. / Includes bibliographical references. Also available on the Internet.

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Morgan reads the treatment of gesture in Clarissa (Richardson, 1747 - 48), Amelia (Fielding,1 751), and Cecilia (Burney, 1782) to study the capacity the sentimental novel attributes to physical forms of eloquence to generate sociability and moderate selfishness in London. He argues that the eighteenth-century English novel of sentiment adopts a physiology derived from Descartes's theory of the body-machine to construct sentimental protagonists whose gestures bear witness against Bernard Mandeville's assertions that people are not naturally sociable, and that self-interest, rather than sympathy, determines absolutely every aspect of human behaviour. However, when studied in the context of sentimental fiction set in the cruel and unsociable metropolis of London, the action of this eloquent body proved relatively ineffectual in changing its spectators for the better. In the English novelistic tradition that stems from Samuel Richardson's Clarissa (1747 - 48), selfishness lies at the roots of civilization, and inculcates modern urban people with instinctively theatrical mores: metropolitan theatricality, marked out in the gestures of the polite body, works to vitiate the sociability that might naturally animate everyday human intercourse. Clarissa responds to the dilemma of the intrinsic theatricality and self-interestedness of modern civil society with a heroine whose gestures (that is, whose physical states) demonstrate an eloquence that partially counteracts some of the effects self-love has upon the metropolis. But while sympathy and natural eloquence do little to diminish London's submission to selfishness, they remain, in Clarissa, unequivocally good. In contrast with Clarissa, Henry Fielding's Amelia (1751) and Frances Burney's Cecilia (1782) criticize both phenomena. In these novels, both by written by socially conservative authors, natural eloquence and sympathy do not generate sociability in London at all and do not even ensure personal virtue unless they are tempered by the discipline of some kind of theatricality. For Fielding and for Burney, unregulated sympathy becomes a problem to which the best remedy is a modicum of stage-craft. But, strangely enough, all three novels indirectly licence the principles of the self-interest they ostensibly attack. Ultimately, these novels of sentiment self-consciously position sympathy and natural eloquence as supplemental discourses that might protest against the dominant practices of Mandevillian self-interest that produce the social order of the metropolis. The net result is that the novel of sentiment implicitly tolerates the dominance of self-interest in the areas of public activity that lie mostly outside the subject-matter with which sentimental fiction principally concerns itself.

This thesis has explored the portrayal of the clerical figure in Fielding's four novels: Joseph Andrews, Tom Jones, Amelia, and Jonathan Wild. Through the use of non- fiction accounts of the period, certain characteristic virtues and vices of the order are ascertained. Fielding's own essays in The True Patriot and The Champion are also analyzed in some detail, in order that further insight into his true feelings toward the clergy might be established.In addition to giving particular attention to the major clerical figures alone, the minor portraits and the famili6s of the clerics are also considered. Comments concerning the clergy, made by non-clerical characters, have also been considered in order that a more complete picture might be obtained.

Morgan reads the treatment of gesture in Clarissa (Richardson, 1747 - 48), Amelia (Fielding,1 751), and Cecilia (Burney, 1782) to study the capacity the sentimental novel attributes to physical forms of eloquence to generate sociability and moderate selfishness in London. He argues that the eighteenth-century English novel of sentiment adopts a physiology derived from Descartes's theory of the body-machine to construct sentimental protagonists whose gestures bear witness against Bernard Mandeville's assertions that people are not naturally sociable, and that self-interest, rather than sympathy, determines absolutely every aspect of human behaviour. However, when studied in the context of sentimental fiction set in the cruel and unsociable metropolis of London, the action of this eloquent body proved relatively ineffectual in changing its spectators for the better. In the English novelistic tradition that stems from Samuel Richardson's Clarissa (1747 - 48), selfishness lies at the roots of civilization, and inculcates modern urban people with instinctively theatrical mores: metropolitan theatricality, marked out in the gestures of the polite body, works to vitiate the sociability that might naturally animate everyday human intercourse. Clarissa responds to the dilemma of the intrinsic theatricality and self-interestedness of modern civil society with a heroine whose gestures (that is, whose physical states) demonstrate an eloquence that partially counteracts some of the effects self-love has upon the metropolis. But while sympathy and natural eloquence do little to diminish London's submission to selfishness, they remain, in Clarissa, unequivocally good. In contrast with Clarissa, Henry Fielding's Amelia (1751) and Frances Burney's Cecilia (1782) criticize both phenomena. In these novels, both by written by socially conservative authors, natural eloquence and sympathy do not generate sociability in London at all and do not even ensure personal virtue unless they are tempered by the discipline of some kind of theatricality. For Fielding and for Burney, unregulated sympathy becomes a problem to which the best remedy is a modicum of stage-craft. But, strangely enough, all three novels indirectly licence the principles of the self-interest they ostensibly attack. Ultimately, these novels of sentiment self-consciously position sympathy and natural eloquence as supplemental discourses that might protest against the dominant practices of Mandevillian self-interest that produce the social order of the metropolis. The net result is that the novel of sentiment implicitly tolerates the dominance of self-interest in the areas of public activity that lie mostly outside the subject-matter with which sentimental fiction principally concerns itself.

Thesis--Freiburg im Breisgau. / With a summary in English. Includes bibliographical references (p. 198-211).