Thesis (M. Sc.)--University of Canterbury, 1967. / Includes bibliography.

La géologie connaît à partir de la fin du 18ème siècle un véritable essor dont les conséquences ne tarderont pas à apparaître dans la peinture de paysage de l’époque. Délaissant désormais les cabinets d’histoire naturelle, les naturalistes se mettent à chercher sur le terrain des indices pour comprendre le passé de notre terre et notamment son extrême ancienneté. Les artistes imitent leur démarche en se passionnant à leur tour aux phénomènes naturels comme les volcans, les glaciers ou tout simplement les falaises. Sous le prisme des découvertes effectuées en géosciences, il s’agira de déterminer l’influence de certaines théories scientifiques sur la peinture de paysage. Au nombre de quatre, ces doctrines contribueront dans une certaine mesure à moderniser ce genre pictural trop sclérosé par la tradition. Des personnalités comme Alexandre d’lt, Louis Agassiz, James Hutton ou encore George Cuvier ont avec leurs doctrines scientifiques profondément changé la vision de notre globe terrestre quant à son histoire, son évolution et ses mécanismes. Notre étude qui abordera de nombreuses facettes des sciences de la terre comme la glaciologie et la paléontologie tentera de mettre en évidence la portée de ces nouvelles disciplines sur le développement de la peinture de paysage de la fin du 18ème siècle jusqu’aux années 1860. / From the final years of the eighteenth century, Geology enjoys a rapid development whose consequences won’t take long to react on the landscape painting of the time. Leaving from then on the study for the outer world, Naturalists set to look for clues on the ground to understand the past of our planet and particularly his old age. Artists imitate their reasoning and are fascinated as well by the naturals phenomenon like the volcanoes, the glaciers or simply the cliffs. Under the prism of the discoveries made in geosciences, it will be a matter to determine the influence of some scientific theories on the landscape painting. These doctrines will contribute to modernize this pictorial genre still too blocked by the tradition. Personalities such as Humboldt, Agassiz, Hutton and Cuvier have with their ideas profoundly changed the vision of our planet about his history, his evolution and his mechanisms. Our study which tackles some aspects of the geosciences like glaciology a paleontology will try to bring to the fore the range of these new scientific disciplines on the development of the landscape painting from the final years of the eighteenth century to the 1860 years.

Orientador: Roberto Romano / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-07-22T21:10:02Z (GMT). No. of bitstreams: 1 Goncalves_PedroWagner_D.pdf: 13091114 bytes, checksum: a18d10b3c35a6c8bb28a4597dbdeee8a (MD5) Previous issue date: 1997 / Resumo: James Hutton, 1726-1797, pensador e naturalista britânico, contribuiu para diversificados assuntos de filosofia e ciência. Ele foi algumas vezes considerado apenas teórico e alheio aos problemas práticos de sua época. Nesta tese, defendo interpretação contrária: esse autor realizou uma cuidadosa reflexão sobre problemas práticos e teóricos de seu tempo e nunca lhe bastou a simplicidade, a explicação rápida ou desprovida de bases empíricas. Em todos os campos que seus escritos se referem, a análise das aparências é parte crucial de sua doutrina. Leitor atento de seus contemporâneos e da antigüidade clássica, reinterpretou o mundo baseado na síntese entre fórmulas gerais, correntes em sua época, e na coleta de dados nos campos natural e social. Quais foram os campos principais a que se dedicou, quais eram suas referências culturais e como Hutton se situa no cenário filosófico? Persegui equacionar estes problemas no desenrolar de minha pesquisa. Para tanto, levantei e descrevi as manifestações das imagens analógicas largamente usadas pelo mencionado autor principalmente em seus escritos cosmo lógicos e filosóficos. O emprego destas metáforas aclara que tais noções migram intensamente da análise moral para a natural e vice versa. Seu compromisso com o experimento conduziu-o à noção científica de virtude nos estudos morais e sociais. A virtude se baseou sobre a análise científica da sociedade e sua teoria da analogia projetou uma concepção otimista sobre o futuro da ciência, do homem e da filosofia. Por meio de sua linguagem, Hutton revelou os débitos com o pensamento moderno e com a antigüidade clássica / Abstract: In the second half of eighteenth century, James Hutton (1726-1797), a British naturalist, developed different subjects in science and philosophy and he has been recognized as a leader of modem geology. Although he was sometimes considered merely a theoretical philosopher and an alien man in front of the practical problems of his time. I defend opposite interpretation: he was a careful thinker conceming practical and theoretical questions and he never accepted the simplicity of quick answers or insufficient empirical data. AlI themes which he dedicated are references to analyse appearances as the crucial part of his doctrines. He was attentive reader of his contemporaries and of the classical antiquity and from them he lent many concepts but he made general formula with them to interpret his own epoch. These general formula were reunited with a large colIection of data in natural and social subjects. Which were his main subjects and intelIectual interests, which were his cultural references and how Hutton locate him .in philosophical scenery? I folIowed to enlighten these questions by means ofmetaphors which were presented by Hutton's original texts, I mainly explored the notion of ~alogy. I privileged the diversified use of the analogy in natural and cosmological subjects. I show up as some notions migrated from natural analysis to moral subjects and vice versa: there is a exchange of the concepts between these two fields. His compromise with the experiment leaded him to the scientific notion of virtue in social and moral studies. Hutton's theory of analogy was applied to base on the scientific analysis of society. He used his knowledge of natural history and chemistry and he projected the optimism of Enlightenment era. He simultaneously revealed his debts with JoOO Locke, David Hume and classical thinkers (mainly of the Stoics) / Doutorado / Doutor em Filosofia

This thesis forms a contribution to the historical geography of botanical knowledge. It examines the writings, teaching and public engagement in botany of John Hutton Balfour (1808-1884), Regius Professor of Botany and Medicine at the University of Edinburgh and Regius Keeper of the Royal Botanic Garden Edinburgh (RBGE) between 1845 and 1879. The thesis explores the methods and approaches used by Balfour to promote botany. It pays specific attention to his scientific correspondence, publications, teaching and pedagogical practices (including fieldwork) and to his role in promoting the Botanical Society of Edinburgh. The curriculum Balfour constructed covered the major aspects of nineteenth-century botanical knowledge: plant structure, morphology and classification as well as aspects then 'on the fringes' of becoming popular - plant physiology. In order to teach this curriculum, Balfour meticulously shaped scientific, pedagogic and social spaces into places of scientific production and discovery. Study of his published work, classroom, field sites and involvement with the public sphere together form the principal elements of this thesis. These are the central places and productive sites in which his botany was made. Balfour's published work allowed him to develop theoretical aspects in his view of botany. For Balfour, writing was an occupation about which he cared deeply both in terms of its role in knowledge circulation but also from a personal perspective. His publication of texts suitable for several distinct audiences (while financially rewarding,) was also an excellent method of circulating botanical and religious knowledge, two topics he was passionate to promote. The classroom provided the setting for Balfour to teach through practical instruction. He employed sensory stimulating objects in order to encourage students to learn the skill of botanical identification and observation. The 'field', like the classroom, was also a site of practical instruction. Balfour's construction of 'the field' was careful and deliberate. It was based on familiarity of location, experience of working in the field, and an extensive knowledge of the geographical distribution of plants in Scotland. Balfour's engagement with the public was evident in his involvement with the Botanical Society of Edinburgh (BSE), and by lectures delivered to groups with the object of moral improvement through botany. The thesis situates Balfour's work within recent literature on the historical geography of scientific knowledge, with particular attention to the importance of place and the sites of science's making. In this way, Balfour's work is illustrative of wider elements of the situated production, and variable dissemination, of scientific (botanical) knowledge.

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