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Inaug.-diss.--Erlangen. / Vita. Bibliography: p. [93]-94.

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This work intends to show the extent of the influence of Voltaire's religion-related writings on Pigault-Lebrun, a famous 19$ rm sp{th}$ writer scarcely remembered today. / The subject is divided in two separate parts. The first part will demonstrate how the different clergy members described by Voltaire are rendered quite faithfully as the characters of the secular and the regular clergy found in the author's novels. In the second part, we will find out the extent to which Pigault-Lebrun has used the 18$ rm sp{th}$ century philosopher's writings in order to write Le Citateur, an anti-clerical essay used by Napoleon as a political weapon, which summarizes the history of christianism from the biblical era until the Enlightenment. / Our study clearly illustrates a broad range of borrowings from Voltaire's work and shows that Pigault-Lebrun played an important part in the diffusion of Voltaire's ideas in the 19$ rm sp{th}$ century.

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Submitted by Luciana Sebin (lusebin@ufscar.br) on 2016-09-27T13:51:07Z No. of bitstreams: 1 DissLPC.pdf: 1442685 bytes, checksum: aec7a034d86a5df7f2d637173fc43e85 (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-09-27T19:51:15Z (GMT) No. of bitstreams: 1 DissLPC.pdf: 1442685 bytes, checksum: aec7a034d86a5df7f2d637173fc43e85 (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-09-27T19:51:21Z (GMT) No. of bitstreams: 1 DissLPC.pdf: 1442685 bytes, checksum: aec7a034d86a5df7f2d637173fc43e85 (MD5) / Made available in DSpace on 2016-09-27T19:51:28Z (GMT). No. of bitstreams: 1 DissLPC.pdf: 1442685 bytes, checksum: aec7a034d86a5df7f2d637173fc43e85 (MD5) Previous issue date: 2016-02-24 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / In Of the Social Contract, Rousseau says that in the civil state the man enjoys individual freedom at the same time as a member of the social body, whose general will is the driving force of the State. That is, the philosopher shows that, on the other hand, the general will, founded through the metaphor of the social body united for the common good of the members, is sovereign to drive life in society and, on the other, the man is to be free in that, as a member of that body, rules your life through laws that he erects on himself, because to be truly master of himself is nothing but to listen the voice of duty or consults the reason, rather than the physical impulse that drives human life in the state of nature. Therefore, according to Gérard Lebrun, Rousseau’s social pact confines the man in the public good, denying him individual freedom. Our research consists to examine as is possible to think the general will and individual freedom in society, aiming to refute the criticism of Lebrun. / Em Do Contrato social, Rousseau diz que no estado civil o homem goza de liberdade individual ao mesmo tempo em que é membro do corpo social, cuja vontade geral é a força motriz do Estado. Isto é, o filósofo mostra que, de um lado, a vontade geral, fundamentada através da metáfora do corpo social unido em prol do bem comum dos associados, é soberana para dirigir a vida em sociedade e, de outro, o homem é um ser livre na medida em que, como integrante desse corpo, rege sua vida por meio de leis que ele mesmo erige sobre si, porquanto ser verdadeiramente senhor de si nada é senão ouvir a voz do dever ou consultar a razão, ao invés do impulso físico que dirige a vida humana no estado de natureza. Entretanto, para Gérard Lebrun, o pacto social de Rousseau confinaria o homem no bem público, negando-lhe a liberdade individual. Nossa pesquisa consiste em analisar como é possível pensar a vontade geral e a liberdade individual na sociedade, visando refutar a crítica de Lebrun.

The present study makes available a modern performing edition of an eighteenth-centyry clarinet concerto. Written by the Mannheim oboist and composer Ludwig August Lebrun, the Concerto in B-flat for solo clarinet and orchestra has existed solely as a set of manuscript parts for over 200 years. The following chapters present biographical information on Ludwig August Lebrun as an oboist and composer of the late eighteenth century, the historical background of Lebrun's Concerto in B-flat. a thematic and harmonic analysis of the concerto's three movements, and a summary of the procedures followed in preparing the present edition of orchestral parts and piano reduction. Contemporaneous sources which provided pertinent performance practice information in the areas of articulation and ornamentation are also discussed. A copy of the piano reduction and orchestral performing parts are included in the appendices.

Doctorat en Langues et lettres / info:eu-repo/semantics/nonPublished

This thesis examines the portraiture of Elisabeth Vigée-Lebrun and Adélaide Labille-Guiard within the context of their time. Analysis of specific portraits in American collections is provided, along with an examination of their careers: early education, Academic Royale membership, Salon exhibitions, and the French Revolution. Discussion includes the artists' opposing stylistic heritages, as well as the influences of their patronage, the French art academy and art criticism. This study finds that Salon critics compared their paintings, but not with the intention of creating a bitter personal and professional rivalry between them as presumed by some twentieth-century art historians. This thesis concludes those critics simply addressed their opposing artistic styles and that no such rivalry existed.

In the last few decades interest in the life and work of Elisabeth Vigée-Lebrun has increased significantly, with numerous publications and a retrospective exhibition dedicated to her oeuvre. Yet, while much new and valuable information has been introduced, very little of it deals specifically with the period from 1795-1800 when she lived as an émigré in Saint Petersburg, Russia. In this thesis I analyze two Russian portraits by Elisabeth Vigée-Lebrun, in relation to two earlier works she painted in Paris, the duchesse d’Orleans (1789) and Marie Antoinette, Queen of France (1783), elucidating the overt similarities to her earlier portraiture practice and exploring the cultural and political climate in which they were created. I argue that the Imperial family as well as the upper echelons of Russian society actively utilized imagery associated with the Ancien Régime to depict a perceived stability at a time when much of Europe was in flux. This political maneuver afforded Vigée-Lebrun the opportunity to live and work in a society similar to the one she left behind in Paris, Russia served thus as a surrogate for Ancien Régime France. In addition to examining the socio political climate of Russia, I consider portraiture practices in general, noting opposing trends that were developing contemporaneously elsewhere in Europe and review Vigée-Lebrun’s unusual status as an émigré. By contextualizing Princess Anna Alexandrovna Golitsyna and Empress Maria Fyodorovna I provide reasoning for her surprising level of success in Saint Petersburg while simultaneously highlighting the importance of this period in Vigée-Lebrun scholarship.