<p>In this dissertation, I argue that musicians began to emerge as a professional class during the French Revolution (1789-1804) by mobilizing Enlightenment philosophies of music, pre-revolutionary social networks, and economic upheaval. I conceive of this phenomenon within a broad macro-historical context beginning in 1749 with Rousseau's first articulations of music and political culture, and ending with institutional changes at the Paris Conservatoire in 1802. My research applies an anthropological approach to the archives as set forth by scholars including William H. Sewell, Jr., Bernard S. Cohn, and Natalie Zemon Davis. Through archival discoveries from across Parisian archives, I elucidate how musicians capitalized upon revolutionary change to pursue personal and collective advancement as artists and professionals. This approach takes the concept of musicianship as a multivalent social category that traverses musical genres and institutions. This study contributes to the nascent movement to reincorporate economic life back into the historiography of the French Revolution and to a relational approach to the politics of expressivity and practice in musical production. The result of this study is a rethinking of previous historical accounts of revolutionary musicians as simply utilitarian. </p><p>In focusing on practicing musicians, their social networks, and their economy, I demonstrate the unique political circumstances of musical production and practice in late eighteenth-century Paris. I conclude that revolutionary politics among composers, performers, and pedagogues gave birth to a distinct form of French musical Romanticism rooted in the negotiation of rational approaches to music with the lived experiences of Revolution. This perspective locates one origin of musical Romanticism in Parisian musical institutions during the second half of the eighteenth century. In Paris, musical genius came to be regarded as a collective attribute applicable to not only composers, but also to performers. This shift toward inclusive professional musicianship constituted an evolution of musical production and aesthetics, which held profound implications for cosmopolitan nineteenth-century European music culture.</p> / Dissertation

This thesis revisits the liberal intellectual tradition of the Scottish Enlightenment by comparing two editions of The Natural History of Aleppo (1756: 1794) written and/or edited by Scottish physicians, half-brothers Alexander and Patrick Russell, in which they recorded their observations of Aleppo in northern Syria. There has been only one other monograph written about this text, entitled Aleppo observed by Maurits van den Boogert and published in 2010. As yet no comparative study of the two editions seems to have been made. As a result, this thesis should revitalize interest in The Natural History of Aleppo (1756 and 1794) across academic fields including Levantine and Ottoman studies, subject-specific disciplines and in the Scottish context. This thesis is divided into four parts. In the first part Chapter 1 provides a literature review and outlines the structure of this thesis. Chapter 2 is a synopsis of the authors’ life histories as background for subsequent discussion. In Part II, the popularity of the two editions (1756 and 1794) is assessed (Chapter 3). This assessment is followed by an appraisal of literary aspects of the two editions of an eighteenth-century text (Chapter 4). To assess the quality, originality and relative significance of Aleppo further, selected topics covered variously in the two editions are explored in Part III (Chapter 5 on medicine, Chapter 6 on flora and fauna, and Chapter 7 on aspects of the exotic). The final Part IV provides a range of conclusions to revitalize eighteenth-century texts and suggests topics for further research.

No description available.

This thesis explores elite culinary culture over the course of the French Enlightenment. The eighteenth century was a time of great culinary innovation during which the basic structure and import of mealtimes diverged dramatically from the long-standing traditions of the royal court. The culinary elite of the French Enlightenment (located mainly in Paris and Versailles) were deeply facinated by the evolving issues of cuisine, taste, and diet, as well as how these issues related to central cultural, political and educational institutions. Culinary innovations had widespread impact on many varied aspects of daily life, such as: expressions of social standing, developments in health science, and situating one's personal moral compass. The following work discusses the connection between food and each of these issues, ultimately asking what it meant for the eighteenth century French culinary elite to eat, and what effect their choice of food had on their identities. / Graduate

IN THIS THESIS I ARGUE THAT DAVID HUME DEVELOPED A PHILOSOPHY OF RELIGION AS AN EMPRICIST AND A NATURALIST PHILOSOPHER, AND DEFENDED HIS PHILOSOPHY AGAINST THE RATIONALIST TRADITION.

Bibliography: leaves 202-211. / iii, 211 leaves ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--University of Adelaide, Dept. of Politics, 1995

This practice-based project explores the photographic phenomenon of ‘moment beyond moment’, which refers to the combined representations of an existing image in an environment, together with the real-life situation at the moment the photograph is taken. I call this photograph an ‘extended photograph’. Employing practical works of extended photographs and focusing on interactions between the moment in real-life and the moment in an existing image, the research explores the transformation of meanings caused by the interactions of these moments in an extended photograph. The research owes its approach to grounded theory, contrary thinking and Chinese Buddhist ‘Sudden Enlightenment’ to further its aim of exploring the unpredictable interaction of these moments, and to disclose the potentials of meaning transformation. My research outcome intends to initiate a discourse with photographic practitioners and theorists on the phenomenon of moment beyond moment in a working environment that is encaged by the excessive existence of displayed images. The thesis is composed as a creative work that consists of a series of photographic images accompanied by an exegesis component. The images represent a nominal 80%, and the exegesis 20% of the final submission.

Also published as author's dissertation--Universität Marburg, 2007. / Includes bibliographical references (p. 313-333).

Thesis (M.A.)--Ohio State University, 2008. / Title from first page of PDF file. Includes bibliographical references (p. 85-89).

Thesis (Th. M.)--Dallas Theological Seminary, 2007. / Includes bibliographical references (leaves [46]-53).