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201	Decadent Wealth, Degenerate Morality, Dominance, and Devotion: The Discordant Iconicity of the Rich Mountain of Potosi Cornejo Happel, Claudia A. January 2014 (has links) No description available. Cartography Comparative Literature Latin American History Art History Latin American Literature Latin American Studies
202	The Monstrous Guide to Madrid: The Grotesque Mode in the Novels of the <i>Villa y Corte</i> (1599-1657) Gilliam, Bethany Marie January 2014 (has links) No description available. European History Foreign Language Literature Urban Planning the grotesque the grotesque mode seventeenth-century Madrid Early Modern novel Spain Bakhtin Thomson Iffland Guzman de Alfarache El Buscon Guia y avisos de forasteros Las harpias en Madrid El diablo cojuelo El Criticon picaresque
203	"Strong Passions of the Mind": Representations of Emotions and Women's Reproductive Bodies in Seventeenth-Century England Johnson, Erin, Johnson 17 July 2018 (has links) No description available. European History History Womens Studies Gender Obstetrics Gynecology history of medicine obstetrics gynecology reproductive health emotions mind body connection England seventeenth century early modern gender history childbirth breastfeeding nursing wet nurses infant care labor midwives man midwives womb
204	Creating Ezo: The Role of Politics and Trade in the Mapping of Japan’s Northern Frontier Dicken, Evan R. 11 September 2009 (has links) No description available. Cartography History Tokugawa Period Edo Period Japanese Cartography Seventeenth Century Eighteenth Century Ino Tadataka Mamiya Rinzo Phillip Franz Von Siebold Takahashi Kageyasu Kudo Heisuke Hayashi Shihei Russian Cartography European Cartography Matsudaira Sada
205	Rubens and the Stoic Baroque: Classical Stoic Ethics, Rhetoric, and Natural Philosophy in Rubens’s Style Nutting, Catherine M. 18 January 2018 (has links) Rubens is known as a painter; he should also be defined as an art theorist. Following Robert Williams’ theory that Early Modern art became philosophical, I believe that style can connote art theoretical interests and philosophical models, and that in Rubens’s case, these included the classical Stoic. While it would be possible to trace Rubens’s commitment to Stoicism in his subject matter, I investigate it in his style, taking a Baxandalian approach to inferential criticism. I focus on Rubens’s formal choices, his varied brushwork, and his ability to create a vibrant picture plane. My study is divided into chapters on Ethics, Logic, and Physics. In Chapter One I treat Stoic moral philosophy as an influence in the design of Rubens’s paintings, consider similarities between classical and Early Modern interest in viewer/reader response, and argue that Baroque artists could use style to avoid dogma while targeting viewers’ personal transformation. In Chapter Two I focus on Rhetoric, a section of the Stoic philosophy of Logic. Stoic Logic privileged truth: that is, it centred on investigating existing reality. As such, Stoic rhetorical theory and the classical literature influenced by it promoted a style that is complex and nuanced. I relate this to the Early Modern interest in copia, arguing that this includes Rubens’s painterly style which, apropos copia, should be better termed the Abundant Style. In Chapter Three I explore similarities between Stoic Natural Philosophy and the Early Modern artistic interest in the unified visual field. The Stoics defined the natural world as eternally moving and mixing; with force fields, energy, and elements in constant relationships of cause/effect. The Stoic concept of natural sympathy was a notion of material/energetic interrelatedness in which the world was seen as a living body, and the divine inhered in matter. I consider ways that these classical Stoic concepts of transformation, realism, and vivified matter might be discerned in Rubens’s style. / Graduate / 2023-12-14 Art History Peter Paul Rubens Baroque Baroque Painting Seventeenth-Century Antwerp Seventeenth-Century Art Style Baroque Style Stoicism Stoicism and Art Early Modern NeoStoicism Antwerp NeoStoicism Flemish NeoStoicism Seventeenth-Cenury Flemish Art Seventeenth-Cenury Flemish Painting Flemish Baroque Painting Stoicism and Style Stoic Ethics Stoic Ethical Philosophy Stoic Rhetoric Stoic Rhetorical Philosophy Stoic Physics Stoic Natural Philosophy Roger de Piles Seneca Seneca Naturales Questiones Tacitus Tacitus's Style Tacitus and Stoicism Stoic continuum Baroque unity Justus Lipsius Early Modern Library Macchia Sententiae Style and Meaning Quintilian Diogenes Laertius Epictetus Chrysippus Marcus Aurelius Early Modern Art Theory Rubens as a Theorist Antwerp Humanism Flemish Humanism Humanism in Flanders and Brabant The Self The Early Modern Self Style for Truth The Continuum Nature Alive Stoic Optimism Seventeenth-Century Stoic Optimism
206	Classicism, Christianity and Ciceronian academic scepticism from Locke to Hume, c.1660-c.1760 Stuart-Buttle, Tim January 2013 (has links) This study explores the rediscovery and development of a tradition of Ciceronian academic scepticism in British philosophy between c.1660-c.1760. It considers this tradition alongside two others, recently recovered by scholars, which were recognised by contemporaries to offer opposing visions of man, God and the origins of society: the Augustinian-Epicurean, and the neo-Stoic. It presents John Locke, Conyers Middleton and David Hume as the leading figures in the revival of the tradition of academic scepticism. It considers their works in relation to those of Anthony Ashley Cooper, third earl of Shaftesbury, and Bernard Mandeville, whose writings refashioned respectively the neo-Stoic and Augustinian-Epicurean traditions in influential ways. These five individuals explicitly identified themselves with these late Hellenistic philosophical traditions, and sought to contest and redefine conventional estimations of their meaning and significance. This thesis recovers this debate, which illuminates our understanding of the development of the ‘science of man’ in Britain. Cicero was a central figure in Locke’s attempt to explain, against Hobbes, the origins of society and moral consensus independent of political authority. Locke was a theorist of societies, religious and civil. He provided a naturalistic explanation of moral motivation and sociability which, drawing heavily from Cicero, emphasised the importance of men’s concern for the opinions of others. Locke set this within a Christian divine teleology. It was Locke’s theologically-grounded treatment of moral obligation, and his attack on Stoic moral philosophy, that led to Shaftesbury’s attempt to vindicate Stoicism. This was met by Mandeville’s profoundly Epicurean response. The consequences of the neo-Epicurean and neo-Stoic traditions for Christianity were explored by Middleton, who argued that only academic scepticism was consistent with Christian belief. Hume explored the relationship between morality and religion with continual reference to Cicero. He did so, in contrast to Locke or Middleton, to banish entirely moral theology from philosophy. 941.06
207	L'institution harmonique (ca. 1640-1647) de Charles Guillet / Institution harmonique (ca. 1640-1647) of Charles Guillet Grimaldi, Amarine 08 March 2013 (has links) Cette thèse porte sur l’Institution harmonique, un traité manuscrit composé par Charles Guillet entre 1640 et 1647, dédié à l’archiduc Léopold-Guillaume. Une étude introductoire précède la transcription de la dédicace, de la préface et du premier livre (le seul qui subsiste). Elle met en lumière l’auteur Charles Guillet (ca. 1575-1654), une figure originale mais peu connue dans le paysage musical et apporte des éclairages sur la source manuscrite (notamment organisation, contenu et dessein théorique). La construction de son discours est enfin analysée à travers l’usage des sources (choix des autorités et compilation de deux « phares harmoniques » qu’étaient Zarlino et Salinas). Par la mise en scène de controverses, Guillet démontre la supériorité de la division syntone sur la diatone et justifie la théorie modale de Zarlino. Dans le premier livre sur « la Theorie, ou Speculative Musicale », la théorie arithmétique des rapports et des proportions est appliquée aux intervalles puis aux questions pratiques du tempérament / This dissertation deals with the Institution Harmonique, a hand written treatise, composed by Charles Guillet between 1640 and 1647, dedicated to Archduke Leopold Wilhelm. An introductory study precedes the transcription of the dedication, preface and Part 1 (the only one remaining to this day). It introduces author Charles Guillet (ca. 1575-1654), an original yet poorly known figure of the musical scene. You will find some specifications regarding the hand-written source (organisation, content and theoretic purpose). I will analyse the construction of discourse through the use of the various sources (choice of authorities and compilation of Zarlino and Salinas, two « harmonic lighthouses ». By staging of controversies, Guillet demonstrates the superiority of syntonic tuning on Pythagorean tuning and justifies the zarlinian modal theory. In the Part 1 on « The Theory, or musical speculative », the arithmetic theory of ratios and proportions is applied to the intervals then to the practical questions regarding temperament Théorie musicale en langue française Première moitié du XVIIe siècle Bruges Fantaisies Orgue Controverses Son Proportion Intervalle Genre Mode Polycorde Tempérament Salinas Zarlino Music theory in French First half of the Seventeenth Century Bruges Fantasies Organ music Controversy Sound Proportion Interval Genera Mode Polychord Temperament Salinas Zarlino
208	Les mémoires apocryphes de Courtilz de Sandras : émergence et triomphe d'une forme romanesque à l'âge classique (1687-1758) / The apocryphal memoirs of Courtilz de Sandras : the rise and success of a novelistic form in the French classical age (1687-1758) Atem, Carole 06 December 2014 (has links) Qu’ils mettent en avant une figure historique ou un personnage fictif, les Mémoires de Courtilz de Sandras, publiés entre 1687 et 1758, marquent l’essor d’une forme romanesque fondée sur le simulacre de l’écriture mémorialiste. Ces romans empruntent l’aspect de mémoires dont les signataires fictifs sont des acteurs du règne de Louis XIII ou des contemporains parfois célèbres de Courtilz ; cependant, loin d’induire en erreur le lectorat, l’origine fictive de ces récits, qui justifie le qualificatif d’apocryphes, n’a pas empêché les critiques des XVIIe et XVIIIe siècles de déceler derrière les auteurs supposés la présence d’un romancier anonyme. Entre illusion et vérité, ces pseudo-mémoires à la première personne, qui mêlent véracité biographique, exactitude historique et invention romanesque, invitent à redéfinir les notions d’authenticité et de fiction, à la lumière du pacte tacite qui s’établit entre l’auteur et le lecteur, unis dans une conscience commune du simulacre. L’examen des rapports complexes que ces textes entretiennent avec les mémoires et l’histoire permet de les situer dans l’évolution des formes romanesques à l’âge classique. Enfin, la fiction de l’écriture mémorialiste autorise un brouillage des voix dont l’analyse révèle la pluralité des discours mis en œuvre par Courtilz : à la voix du mémorialiste fictif se superpose et souvent s’oppose la voix du romancier, qui, à travers les faits du récit, formule en filigrane un discours satirique sur le monde, incompatible avec celui des personnages. Véritable instrument polémique, la rencontre de ces discours contradictoires participe d’un univers romanesque pessimiste où transparaît l’échec existentiel des héros. / Whether they highlight a historical figure or a fictional character, the Memoirs of Courtilz de Sandras, published between 1687 and 1758, mark the emergence of a type of fiction based upon the pretence of memorialist writing. These novelistic works assume the form of memoirs whose fictitious authors are individuals from the reign of Louis XIII or well-known contemporaries of Courtilz. Far from misleading the readers, the fictional origin of these narratives, which justifies their being called apocryphal, did not prevent the literary critics of the seventeenth and eighteenth centuries from detecting behind the purported authors an anonymous novelist. Between illusion and truth, these so-called memoirs written in the first person, mixing biographical veracity, historical accuracy and fictional invention, urge to redefine the notions of authenticity and fiction, in the light of the tacit pact between the writer and the reader, united in a common awareness of pretence. Studying the complex relationship that these novels share with authentic memoirs and history permits to situate them in the evolution of the works of fiction in the French classical age. The fiction of memorialist writing allows the mixing of the voices, which reveals the plurality of the discourses used by Courtilz: to the voice of the fictitious memorialist, the voice of the novelist is superimposed if not opposed. Through the narrative, the novelist implicitly expresses a satirical speech about the world, irrelevant with the one of the characters. A real instrument of controversy, the interweaving of the two discourses partakes of a pessimistic fictional world which emphasizes the existential failure of the heroes. Courtilz de Sandras Pseudo-Mémoires Mémoires Apocryphes Réception Histoire Roman Fiction Histoire et littérature Dix-Septième siècle Age classique Dix-Huitième siècle Narration à la première personne Auteur anonyme Auctorialité Publications clandestines Courtilz de Sandras Pseudo-Memoirs Memoirs Apocryphal Reception History Novel Fiction History and literature Seventeenth century French classical age Eighteenth century First-Person narration Anonymous author Auctoriality Clandestine publication
209	Selling the republican ideal : state communication in the Dutch Golden Age der Weduwen, Arthur January 2018 (has links) This study seeks to describe the public communication practices of the authorities in the Dutch Golden Age. It is a study of 'state communication': the manner in which the authorities sought to inform their citizens, publicise their laws, and engage publicly in quarrels with their political opponents. These communication strategies underpinned the political stability of the seventeenth-century Dutch Republic. Concerned about their decorous appearance, the regents who ruled the country always understated the extent to which they relied on the consent of their citizens. The regents shared a republican ideal which dismissed the agency of popular consent; but this was an ideal, like so many ideals in the Dutch Republic, which existed in art and literature, but was not practised in daily life. The practicalities of governance demanded that the regents of the Dutch Republic adopt a sophisticated system of communication. The authorities employed town criers and bailiffs to speed through town and country to repeat proclamations; they instructed ministers to proclaim official prayer days at church; and they ensured that everywhere, on walls, doors, pillars and public boards, one could find the texts of ordinances, notices and announcements issued by the authorities. In the seventeenth-century Dutch Republic, politics was not the prerogative of the few. That this was due to the determined efforts of the authorities has never been appreciated. Far from withholding political information, the regents were finely attuned to the benefit of involving their citizens in the affairs of state. The Dutch public was exposed to a wealth of political literature, much of it published by the state. The widespread availability of government publications also exposed the law to prying, critical eyes; and it paved the way to make the state, and the bewildering wealth of legislation it communicated, more accountable. 900
210	Seda, trabajo y sociedad en la Murcia del siglo XVII Miralles Martínez, Pedro 10 March 2003 (has links) En esta tesis se analiza la sociedad de Murcia en el siglo XVII a través de los procesos de producción, manufactura, comercialización y detracción fiscal de la seda, con las finalidades de explicar la movilidad y la reproducción social de las elites surgidas del comercio sedero, así como indagar en las circunstancias que posibilitaron o no la formación de una grupo social burgués. La seda contribuyó a la caracterización de la sociedad murciana como una formación económica y social que tiene como principio fundamental la perpetuación y la reproducción social. Sin embargo, en esta estructura social existían algunas posibilidades de mejorar la condición que se ocupaba en la misma. Los actores sociales actúan para mejorar y garantizar su posición en la sociedad, ésta es más importante que la posesión de bienes materiales; no obstante, la riqueza y las relaciones sociales son imprescindibles para la lucha individual y familiar por el honor. / The essential thesis is to analyse the Murcian society in the seventeenth century through the process of production, manufacture, commercialization and fiscal taxation of the silk. In the same way it has the purpose of explaining the social mobility and social reproduction of the elite which arose out of the silk trade, and doing research in the circumstances which made possible or did not the formation of a social middle class group, the bourgeoisie. The silk contributed to the characterization of the society of the seventeenth century as an economical and social formation that has the perpetuation and the social reproduction as fundamental principle. The social protagonists acts in order to improve and guarantee their position in the society, this one is more important than the possession of goods; nevertheless, the wealth and the social relations are essential for the individual and family fight to get the honour. trade silk manufacture work seventeenth century silk portugueses genoveses reproducción social movilidad social relaciones sociales sociedad familia mercaderes artesanos gremios comercio manufactura trabajo sedería siglo XVII seda Murcia merchants family society social relations social mobility social reproduction Genovese's artisans Portuguese's Didáctica de las Ciencias Sociales 9 93 94

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