Dissertationen zum Thema „France Collections“
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Querrien, Armelle. „L'archéologie dans les musées et collections publiques de France“. Paris 10, 1986. http://www.theses.fr/1986PA100114.
Der volle Inhalt der QuelleArchaeology has found a place in the movement creating museums that followed the French revolution and napoleon's conquests. Very soon, a gaff became evident between the research and presentations of classical and extra national archaeology supported by the state on the one hand and national archaeology supported by "societes savantes" and local councils on the other hand. Besides, as for back as the end of the 19 th century the presentation of museums did not keep place with the result of research; this phenomenum was reinforced in world wars. Despite all the efforts made during the past few years, the evaluation drawn around the year 1980 shows the health of the problems experienced by museums which have archaeological collections. However the potentialities that the latter offer to research and the diffusion of its results are enormous. Moreover the success encountered among the population and its leaders keeps increasing nowadays and the public touched by museums is growing larger. Therefore a propitious context presents itself for the recival of the too long underprivileged institution: the museum. Tome 1: Ist part: archaeology and the history of museums 2sd part: archaeology in French museums and public collections. Status (regulations) collections - typology of museums - staff - financial and material means - acquisitions - diffusion, research 3rd part: the public of museums. General data and survey on the people attending archaeological exhibitions. Tome II: index of archaeological museums and public collections in France
Allano, Mylène. „Peintures italiennes en Bretagne : collections d'aujourd'hui, goûts d'hier“. Rennes 2, 2005. http://www.theses.fr/2005REN20002.
Der volle Inhalt der QuelleBritanny is wealthy of an underestimated inheritance, constituated of about a thousand Italian paintings that cover the large period from the XIIIth century to the XIXth century. Those pictures, that can be mostly found in museums but also in some religious buildings and town halls are a legacy from a past going before the French Revolution - a time in which emigrants and Clergy's possessions were seized to be given to the public domain. In fact, it is from the XVIIth century on, and under the boost of engraving that Britanny has been discovering Italian painting. Nevertheless, it is necessary to wait for the XIXth century and the forming of a new generation of private collectors for the picture acquisition to spread. The increasing practice of donation and, at the same time, the blossoming museums, enriched the public collections, and the State's sendings and depositings
Ghadie, Heba Alah. „Les traducteurs dans les collections littéraires en France (1821-1852): Identités réelles et discursives“. Thèse, Université d'Ottawa / University of Ottawa, 2013. http://hdl.handle.net/10393/30225.
Der volle Inhalt der QuelleQuerrien, Armelle. „L'Archéologie dans les musées et collections publiques en France“. Lille 3 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb376006152.
Der volle Inhalt der QuelleMarion, Michel. „Collections et collectionneurs de livres au XVIIIe siècle“. Paris 4, 1994. http://www.theses.fr/1994PA040157.
Der volle Inhalt der QuelleIn the Bibliotheque Nationale, in Paris, auction books catalogues are kept and also preserved: they are the basement of the present thesis. Book collectors, in their social condition, marriages, parents and locations, especially in the head town, are presented. Estates and royalties are evaluated too. Collections themselves are also presented, so in their global part than in their secular variations. Foreign editorial production, knowledge of European and nexs, which collectors used to study production are the aim of an analysis, so too the public auctions: books are very expensive. So we may say that collecting books is an advantage that only few could have
Trébosc, Delphine. „Confronter l'art : les collections de raretés de la Renaissance française“. Paris 1, 2004. http://www.theses.fr/2004PA010573.
Der volle Inhalt der QuelleMeyer, Anne-Doris. „Le "musée personnel" de la collection privée au Musée public : parcours de l'objet d'art en France au XIXème siècle“. Strasbourg 2, 2001. http://www.theses.fr/2001STR20001.
Der volle Inhalt der QuelleHenry-Virly, Vanessa. „Les intailles et les camées dans les collections en France au XVIIIème siècle“. Rennes 2, 2010. http://www.theses.fr/2010REN20044.
Der volle Inhalt der QuelleSince the fourth millennia B. C. , cameos and intaglios have been made and used as ornaments, as talismans, or as means of political propaganda. Private individuals and administrations have also used them as seals, and from the very outset, these engraved stones have been sought after by collectors. Eighteenth-century France is no exception to this demand. This thesis sets out to determine the role and status of cameos and intaglios in the collections of the period, to identify the individuals who collected them and to evaluate the part personal taste or social conventions played in the constitution of such collections. The study of the press, publications and auction catalogues from this era in France, reveals that engraved gemstones are considered as objets d’art, as research tools and as a medium for social representation. Aside from the Répertoire of F. Lugt which catalogues 33 auctions of this type, there has been few publications in this area of the history of collections. Research carried out in this thesis has resulted in the discovery of several hundred collectors of glyptic art. Potentially, each of these individuals may now be the subject of further study using the research tools and resources developed as an integral part of this thesis. The uses to which these tools may be put is demonstrated in the analysis of several collectors including: Mariette, Caylus, the Princess Palatine and the Countess de Verrue. This thesis is the first investigation of its kind in this field and aims to contribute to the development of research on cameos and intaglios in eighteenth-century France
Rolland, Frédéric. „Les collections privées de films de cinéma en support argentique en France“. Versailles-St Quentin en Yvelines, 2009. http://www.theses.fr/2009VERS008S.
Der volle Inhalt der QuelleThe vagaries of film preservation (within the film industry) has led to a considerable number of films to vanish. While film and audiovisual archives institutions have multiplied and they have significant funds, there are at the same time in France amateurs, collectors of silver film prints, which sometimes have rare or unique titles in all formats. Beyond release films, specialized for amateur market, face a legal environment often hostile to their passion, their activities and even their existence are unknown. Knowledge of available resources is still desirable in terms of heritage but also functional when the transition process chain engineering manufacturing and distribution of photochemical film to digital began last few years. The digitization of holdings listed should remain incomplete for long and many films will be invisible. Private collectors could further collaborate with institutions and rightholders to the preservation of French cinema
Notteghem, Emilie. „Parcours d’objets de dévotion : mémoire, esthétique, culture (France, XIXème-XXIème siècles)“. Paris 10, 2007. http://www.theses.fr/2007PA100069.
Der volle Inhalt der QuelleWhile cultual obligations are fading away, initiatives from private collectors, associations, sacred art museums to preserve Christian material heritage are growing. First, this study investigates individuals’ ways to distance themselves from Catholicism, in adulthood: objects are used to hold together a biographic and cultural memory. The autonomy of aesthetic from religion neutralizes objects’ cultual value; however they may acquire new ritual functions which extend or transpose domestic use of Christian traditions. Secondly, this study sheds light on religion officers’ position, caught in between two institutional movements of heritage summons – either ecclesiastical or governmental. This analysis leads to the conclusion that it is extremely difficult to work with liturgical objects and quasi-impossible to make non-religious sacred art museums. Museography seems to be helpless to resuscitate as a culture the so-called “shared heritage”
Grosset-Clergeau, Marie-Jeanne. „Catalogue raisonné des peintures de Thomas Couture demeurées dans les collections publiques en France“. Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37603999g.
Der volle Inhalt der QuelleStarcky, Emmanuel. „Inventaire des dessins des écoles du Nord du cabinet des dessins du musée du Louvre : supplément aux inventaires de Frits Lugt et de Louis Demonts“. Paris 4, 1986. http://www.theses.fr/1986PA040133.
Der volle Inhalt der QuelleAvilès, Flores Pablo. „La construction de l'idée de patrimoine collectif : des collections privées aux nationalisations révolutionnaires“. Paris, EHESS, 2015. http://www.theses.fr/2015EHES0034.
Der volle Inhalt der QuelleThroughout the 20th Century, in different domains and institutions, what seems to be a vocabulary around the collective heritage has taken shape. Yet, the concept contains a contradiction, expressed on different ways, among those a «legal ambiguity ». A « semantic inflation » and a « universalisation ». The current definition of the collective heritage is the product, in one hand, of the history of collections and on the other hand, the arrangement of arts and sciences by the public authority. We wish to conduct a multidisciplinary reflexion underlying the common characteristics all along the history of collection. The cultural heritage is, therefore, a political institution with a particular legal status, requiring publicity. Distinction between private and public property becomes therefore blurred, to the point that the public interest may determine the destination and treatment even of private property goods. The « universalisation of the concept » passes through the history of collectionnisme in the long term to the study of the Commission des monuments, active between 1790 and 1794. The works led by this commission were concerned, at the same time, by the history of collectionnisme since the formation of relics collections, going through the formation of the curiosity chambers, and ending up at the object collecting during the voyages of scientific exploration, and of course, at the establishment of the national collections by the public authority
Sarmant, Thierry. „La république des médailles : numismates et collections numismatiques à Paris du XVIIe au XIXe siècle“. Paris 1, 1999. http://www.theses.fr/1999PA010580.
Der volle Inhalt der QuelleLike the republic of letters, the republic of medals lived his golden age in XVIIth and XVIIIth centuries. Then, Paris was one of the most important centres of European numismatical activity, particularly during the reign of Louis XIV. This republic was neither a coherent structure, nor an organised network. The metallical nation never had any centre or head no collection, not even the king's one, could play this part. However, in the first quarter of the XVIIIth century, a body, the academie royale des inscriptions, was something like a senate of this republic. In fact, the republic of medals'cohesion came from a community of uses and conceptions. The same books of medals circulated all over europe the cabinets were ordinated according to the same principles. The alliance between collectors and scientists was a strong cement too the republic of medals was respublica curiosa as well as litteraria. Coin collection was always linked with books of medals the medal cabinet was a complement and an ornament for a library so, numismatic curiosity presents a great likeness with book collection : same alliance of aesthetic worry and of intellectual one, same value of empirical knowledge for research, same importance of the sense of touch, same attention to the notion of exemplary. The great steps of the history of numismatics are 1660, when the science of medals became independent, years 1720-1730, when numismatical curiosity faded away, years 1770, when the pellerin generation brought decisive transformations to method and a new point of view on coins, and, finally, the years 1830, when numismatics found the centres it yet conserves : big Parisian merchants, revue numismatique, soon société francaise de numismatique, cabinet des médailles. Long seen as an uninteresting period of numismatics' history, XVIIIth century was, in fact, an essential moment, and the true grand siecle of the republic of medals
Turbide, Chantal. „Les collections artistiques de Catherine de Médicis : 1519-1589“. Aix-Marseille 1, 2002. http://www.theses.fr/2002AIX10072.
Der volle Inhalt der QuelleViellard-Cazaumayou, Sophie. „La circulation des objets océaniens en Occident : contribution à une analyse anthropologique du marché de l'art primitif en France“. Paris, EHESS, 2005. http://www.theses.fr/2005EHES0190.
Der volle Inhalt der QuelleUntil recently, the anthropology research hasn't paid much attention to the tribal art market. Yet the study enriches, not only the knowledge of the french collections but also grasping the process of the value from the "curios" to art. Furthermore, we can see a different approach of exchange system. South Sea objets circulating in the Occident are useful for the understanding of tha market specificity. The growing media coverage in the 20 th century showed the emerging of these goods in the art market and especially in the auctions. The speeches of the actors specializing in that field also bring a multitude of informations to grasp the commercial manipulation of these items. This is discernible in the multiplication of references linked to the authenticity and rarefaction of the object. In addition, these also bring the collectors to keep the object as a sacred thing. However, item which became inalienable in Occident is sometimes underlying goods of oceanian identity and culture. This increases the problem of legitimacy of the possession and restitution of this object
Tokpassi, Hervé. „Les parlementaires bordelais et les arts au XVIIIème siècle : architecture et collections“. Bordeaux 3, 2009. http://www.theses.fr/2009BOR30008.
Der volle Inhalt der QuelleThrough their social position, the members of Parliament were the most influential and the richest class in the eighteenth-century. They also had the cultural prestige that allowed them to be in the well educated elite of the Age of Enlightenment. This work is to establish the relationship between the members of the Bordeaux Parliament and the artistic environment. The first part discusses the Bordeaux Parliament and the robine nobility’s lifestyle specifically through the fortune of his members and the place of the parliamentary group within the cultural and intellectual elite of Bordeaux. The second parts deals with the study of the architectural heritage. It states the architects achievements financed by the magistrates "master builders", whose imposing, private, and richly adorned hotels plus the prestigious chateaux, still represent their power at the time. The last part analyses the furniture design and style and the different collections of the Members of Parliament, that show the taste and the artistic sensibilities of this enlightened class. The study ends by identifying a possible patronage from the members of Parliament
Grosset-Clergeau, Marie-Jeanne. „Catalogue raisonné des peintures de Thomas Couture demeurées dans les collections publiques en France“. Paris 4, 1987. http://www.theses.fr/1987PA040478.
Der volle Inhalt der QuelleThe catalogue presents principally paintings from French museums; they are classified by sort, portraits, compositions, genre paintings, landscapes, still-lives, showing the variety of couture's work. The compositions are accompanied by their preparatory studies. Ten pictures are presented as attributions at the end of the catalogue. For each painting, the study-plan is simple: description, exhibitions, bibliography, and study. The most important problem is the datation. Sometimes, the evolution of couture's technique and style gives a solution. The biography and work in its whole are shortly studied in the introduction. The rigorous preparative work of Couture is shown in the studies for Les Romains de la décadence, L'Enrôlement des volontaires, Le Baptême du prince impérial, La Noblesse. The series illustrating a same subject, as well as Damoclès and Le Roi de époque, emphasize the edifying aspect of couture's painting. But the portraits, the landscapes, the still-lives, show a less-known more attractive and closer to us couture. The artist's influence on Manet is evocated; his insertion in the society and art of his time as well. Couture appears as the painter of the …
Absa, Dembélé Anna. „Le Sénégal dans les collections du Musée de l'Homme : histoire et processus de collectes“. Paris, Muséum national d'histoire naturelle, 2001. http://www.theses.fr/2001MNHN0044.
Der volle Inhalt der QuelleHoffmann, Marie. „Les collections océaniennes des musées du Nord - Pas-de-Calais : étude comparée de la mise en place des collections ethnographiques régionales à partir de celle du Musée de Boulogne-sur-Mer“. Thesis, Lille 3, 2019. http://www.theses.fr/2019LIL3H010/document.
Der volle Inhalt der QuelleThe history of the collections has been a main focus in the Museum Studies since the late 20th century. However, despite having been inventoried in the 1980s, the past of pacific collections is still mainly undiscovered, the process of their incorporation into the museum unkown. It is mostly due to the eventful history of inventories and collection managments. Museum curators often encounter objects unumbered, labels unconnected to any artifact, several numbers for the same object... But is displaying an object detached from any historical background a viable option ? Or should we always consider its history and the way it became a museum piece ? Our goal is to relate the pacific collections past, looking through the archives, unraveling the steps these artifacts took from the Pacific to Northern France. The diversity and profusion of pacific material in the North and Pas-de-Calais departments account for our regional focus. Our main point of interest is the collectors and donators, men and women who took part to the history of the artifacts, in the contexte of the notable socialibity. We highlight the way these objects came to enter the inventory of the museum, the way they were perceived by the administrations and the public, but also the way they were displayed. The two main institutions in our study are the Museums of Boulogne-sur-Mer and Douai. Both are rich in archives material and the tragic destiny of the second warrant this pre- eminence. The Hôtel Sandelin of Saint-Omer, Dunkerque Fine Arts and Lille Natural History Museums are the three other study cases presented in our thesis. Our time frame is mainly set on the 19th century, with a starting point at the creation of the first institution, the Boulogne- sur-Mer Museum
Gétreau, Florence. „Le Musée instrumental du Conservatoire de Musique de Paris : Histoire et formation des collections“. Paris 4, 1990. http://www.theses.fr/1990PA040405.
Der volle Inhalt der QuelleZmelty, Nicholas-Henri. „L'affiche illustrée en France (1889-1905) : naissance d'un genre ?“ Amiens, 2010. http://www.theses.fr/2010AMIE0007.
Der volle Inhalt der QuelleEfrat, Tomer. „L' objet naturalisé et la nature objectivée : curiosités urbaines et collections d'histoire naturelle en France (1830-1930)“. Paris, EHESS, 2002. http://www.theses.fr/2002EHES0049.
Der volle Inhalt der QuelleThe subject of this thesis is the study of natural history exhibitions and their development in France during the 19th century. In a time frame extending from the beginning of the 19th century to the commencement of the 20th century, we shall show the increasingly spectacular way in which natural objects were displayed. The dense visual milieu characteristic of the urban environment of the period introduced new norms and methods of display into museums and natural history collections. Furthermore, in the second half of the 19th century, the universal expositions, international events combining entertainment, science and mercantilism, provided an ideal space to exercise and emit new techniques for displaying scientific themes. The main author of these displays of natural history pieces is the scientific auxiliary, whose profession consists of transforming the specimens into objects for exhibition. In order to do this, he associates the sciences to the arts, thus playing an important role as a mediator between the scientific milieu and the public. Moreover, given the orientation of natural sciences towards experimental practice and more conceptual forms of representation, the scientific auxiliary is increasingly oriented towards the popular activities of society, such as the preparation of ornamental articles and the creation of wax cabinets and dioramas. As a result, on the eve of the 20th century, natural history museums actually became sites for show and amusement in the urban landscape
Cochet, André. „L'industrie gallo-romaine du plomb : les collections lyonnaises“. Lyon 3, 1986. http://www.theses.fr/1986LYO31019.
Der volle Inhalt der QuelleThe study made of manufacturing processes used by ancient plumbers makes up the main purpose of the research. The first part of the thesis is made up of the description of these processes, as they can be known from a close examination of the objects found out and kept in various parts of france. Thanks to the knoledge of these processes, it is possible to offer the basis of a classification of the most frequently found objects, that is wedges used for putting in freestones, pipes, cinerary urns, coffins. Thanks to that technical study, the wide range of workshop traditions is brought to light. This range may correspond, in some cases, to some regional particularities ; nevertheless, in the case of some objects, some great centers seem to have known various and contemporaneous practises as far as the production of an identical category of objects is concerned (coffins from vienne). In other cases (pipes) technical factors seem to account for this variety. Correctly dated objects are rare ; therefore it is not possible, in the present state of documentation, to be more specific about the evolutions due to time. The connections established between gallic and phoenician coffins may be clarified when taking into account technical components used to justify this classification. The second part consists in a description of objects kept in the lyons collections ; it is possible to prove the existence of several workshops, and to characterize their products. It is also possible, for each category of objects, to specify the affinities and differences with the neighbouring areas' material
Witkowski, Martine. „François Ier amateur d'art : les collections royales dans la première moitié du XVIe siècle“. Paris 4, 1994. http://www.theses.fr/1994PA040078.
Der volle Inhalt der QuelleThis study shows the artistic aspect of Francis 1's reign. It presents first the king as a connoisseur (the word collection didn't exist at the renaissance time) and as a mecene. The royal collections are then studied: collections of paintings, sculptures, tapestries, the furniture, the library, the arms' collection, the jewels, the silverware, the small antiquities, the medals, the gems and the natural curiosities. In conclusion we insist on the important role of Francis i in the French renaissance and on what happened to his collections a part of which could be preserved until today
Duchemin-Pelletier, Florence. „« Les sculptures ne sont pas uniquement des sculptures » : réception de l’art inuit contemporain en France des années 1950 à nos jours“. Thesis, Paris 10, 2014. http://www.theses.fr/2014PA100075.
Der volle Inhalt der QuelleFrom the middle of the 1950s, traveling exhibitions of Contemporary Inuit Art have been staged across several continents. These exhibitions had been enthusiastically received, thanks in large part to the particular positioning put forth by James A. Houston, which established Contemporary Inuit Art within the artistic constructs of primitivism and modernism. This warm welcome was in marked contrast to France's own reception of Inuit art. Even though its collective imaginary has been largely shaped by figures from the North Pole, a view that can be traced back to the first apostolic and exploratory missions of the continent, France remained the only country that showed a certain distrust towards this artistic expression. This thesis will examine the conditions by which Contemporary Inuit Art has been re-interpreted within a series of evolving historical contexts, beginning with the domination of the primitivist paradigm until the 1970s, and moving towards the multiplication of individual and collective projects from the early 1980s, a context which prevails to this day. Throughout this examination, the question of Contemporary Inuit Art's ability to be seen as a symbol of artistic and cultural authenticity will be addressed. The final chapter will deal with the notion of aboriginal discourse and the 'double address' mode of communication that Inuit artists tend to employ
Banguiam, Kodjalbaye Olivier. „Contribution des militaires français à l'enrichissement des collections ethnologiques africaines de grands musées ethnologiques français : 1850-1915“. Paris, Muséum national d'histoire naturelle, 2006. http://www.theses.fr/2006MNHNA001.
Der volle Inhalt der QuelleGirardin, Miléna. „Les legs et donations d'artistes et de leurs héritiers aux collections publiques de 1818 à 1969“. Paris 1, 2003. http://www.theses.fr/2003PA010601.
Der volle Inhalt der QuelleCastelluccio, Stéphane. „L'hôtel du Garde-Meuble de la Couronne et les collections royales d'objets d'art, 1774-1798“. Paris 4, 1998. http://www.theses.fr/1998PA040135.
Der volle Inhalt der QuelleThis research about the hotel du Garde-Meuble de la Couronne from 1774 to 1798, now the French navy headquarters place de la Concorde at Paris, is made up three parts: the directors at the XVIIIe century, decoration and furniture of their apartment and the royal collections. The office of intendant des meubles de la Couronne belonged to the Fontanieu's family since Louis XIV. Pierre Elisabeth (1764-1784), cultured and art lover, knew very well the Parisian artistic sphere. Thierry de Ville d'Avray (1784-179z) was the result of the social ascension of his family with offices. Less cultured than his predecessor, he managed the garde-meuble as an administrator. For the realisation of his apartment, Fontanieu appeal to the royal craftsmen. They realized one of the most beautiful decoration of the beginning of the 1770's. Thierry extended the apartment and choose spectacular furniture. For them, sumptuousness of the apartment reflected the administration's prestige. Collected by Louis XIV by pleasure and for ostentation, the royal collections of objets d'art left Versailles during the XVIIIth century by the lack of interest from Louis XV and Louis XVI. Exhibit at the Garde-Meuble since 1776, the collections showed the monarchy's pomp. The revolution considered them as national patrimony, but they became a reserve of curios. The prestige of the garde-meuble was at the height in the XVIIIth century, but the Revolution did not accept it was a museum: the Garde-Meuble had just to manage the furniture: it became the present French Mobilier national
Patin, Christelle. „Les restes humains dans les musées : anthropologie et histoire des collections françaises (XIXe-XXIe siècle)“. Paris, EHESS, 2014. http://www.theses.fr/2014EHES0608.
Der volle Inhalt der QuelleSince 1990, human remains of anthropological collections in museums give rise to arguments. That thesis compare current historiographic interpretations to a precise reconstitution of the scientific and social life of French collections, till gathering of corpse, transportation, transformation, public display to current return. Anatomic body of Saartjie Baartman, the "Hottentot Venus", and the skull of the kanak leader Ataï, constitute both biographies of that research
Sarmant, Thierry. „La République des médailles : numismates et collections numismatiques à Paris du XVIIe au XIXe siècle /“. [S.l. : s.n], 1999. http://catalogue.bnf.fr/ark:/12148/cb41234671q.
Der volle Inhalt der QuelleDaugeron, Bertrand. „Apparition-Disparition des Nouveaux mondes en histoire naturelle : Enregistrement-Epuisement des collections scientifiques (1763-1830)“. Paris, EHESS, 2007. http://www.theses.fr/2007EHES0071.
Der volle Inhalt der QuelleThe comprehension of the relegation of the human artifacts from the collections of the Museum d'Histoire naturelle (1797) requires connecting objects and knowledge. This issue understands better how the conditions of political production of scientific objects, revealed during the maritime expeditions and the revolutionary seizures, affect classifications. Two series will be connected : on the one hand the cognitive dimension of the collections raised by methodological problems, from a naturalist point of view which classifies through objects and, on the other hand, from the loss of the American possessions until the catch of Algiers, a colonial interval, which explores the Pacific and colonize it. The exclusion of the man-made objects would structure the deep time of the history of nature, while relegating the primitive in the margins of History, condemned to vanish or to be colonized. Behind this relegation, the vision of the Other changes turning from the savage into the primitive
Benoist, David Cyrot Catherine Chaigne Marion Gouiran Magali Le Gall Alix Verneuil Gilles. „Les collections patrimoniales multimédias et informatiques de la Bibliothèque nationale de France quels usagers, quels usages ? /“. [S.l.] : [s.n.], 2006. http://www.enssib.fr/bibliotheque/documents/dcb/M-2006-PRO-12-vol1.pdf.
Der volle Inhalt der QuelleCognot, Fabrice. „L'armement médiéval : les armes blanches dans les collections bourguignonnes. Xe - XVe siècles“. Phd thesis, Université Panthéon-Sorbonne - Paris I, 2013. http://tel.archives-ouvertes.fr/tel-01001643.
Der volle Inhalt der QuelleBonnot, Thierry. „Trajectoires d'objets entre industrie et collections : les poteries de grès de la vallée de la Bourbince en Saône-et-Loire“. Paris, EHESS, 2000. http://www.theses.fr/2000EHES0082.
Der volle Inhalt der QuelleEtchart-Salas, Maialen. „Rapport de stage au service de littérature française, département littérature et art, direction des collections, Bibliothèque nationale de France“. [S.l.] : [s.n.], 2003. http://www.enssib.fr/bibliotheque/documents/dcb/rsetchart.pdf.
Der volle Inhalt der QuelleCordier, Samuel. „Tendances et particularismes des collections provinciales au XVIIIe siècle : l'exemple du nîmois Jean-François Séguier“. Paris, Muséum national d'histoire naturelle, 2005. http://www.theses.fr/2005MNHN0059.
Der volle Inhalt der QuelleHow do people build collections in the French province during the 18th century ? The study of Jean-François Séguier’s (1703-1784) biography and masterpiece, allows us to measure the contribution of a provincial collector in the age of Enlightenment to France and to the scientific European world. At a time when collections are less and less an object of curiosity and become increasingly rationally organised, exchanges between Paris and the scientific networks contribute to mutual enrichment. Known as for his works upon antiquities, Séguier is also a naturalist whose masterpiece accurately reflects the changing envision of nature during the 18th century. The link between collections and the state-of-the-art reflects the intensity of exchanges and constant information transfers between European botanists. In touch with Linnaeus, with the botanists of the “ King’s Garden ” in Paris, and with those in Montpellier, Séguier is a modern researcher of the 18th century. Testimonies from contemporary visitors enable us to reconstruct the setting up of the different rooms of an historical House, which clearly contrasts with the Cabinets of curiosities and where the cosmopolitism of the Enlightenment took its roots. By opening his door and proposing an unique image of his knowledge, Séguier attracts numerous visitors and invents new modes of socializing. Our study underlines the strong impact of those exchanges
Sewright, Kathleen Frances Nádas John Louis. „Poetic anthologies of fifteenth-century France and their relationship to collections of the French secular polyphonic chanson“. Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2008. http://dc.lib.unc.edu/u?/etd,1827.
Der volle Inhalt der QuelleTitle from electronic title page (viewed Dec. 11, 2008). "... in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music." Discipline: Music; Department/School: Music.
Weil-Curiel, Moana. „Recherches sur Louis Hesselin (1602-1662), ses résidences et ses collections“. Paris, EPHE, 2001. http://www.theses.fr/2001EPHE4038.
Der volle Inhalt der QuelleChevallier, Bellon Charlotte Cours-Salies Pierre Beichelt Timm. „Essai d'interprétation des phénomènes centristes contemporains analyse comparative France, Allemagne, Pologne /“. Saint-Denis : Université de Paris 8, 2007. http://www.bu.univ-paris8.fr/web/collections/theses/THESE_Chevallier.pdf.
Der volle Inhalt der QuelleThèse soutenue en co-tutelle. Titre provenant de l'écran-titre. Bibliogr. f. 623-644. Notes bibliogr.
Déverly, Daphné. „Les collections et la recherche anthropologiques en région Provence-Alpes-Côte d'Azur“. Aix-Marseille 2, 2006. http://www.theses.fr/2006AIX20687.
Der volle Inhalt der QuelleFour, Pierre Alain. „Intervention publique et art contemporain : la création des Fonds régionaux d'art contemporain, : leur insertion dans le monde de l'art et leurs politiques d'acquisitions“. Paris, Institut d'études politiques, 1995. http://www.theses.fr/1995IEPP0014.
Der volle Inhalt der QuelleDealing with public policies, in relation with FRACs (fonds régionaux d'art contemporain). This PhD concerns as well art sociology and art history. The first part analyses how the policy was built and how the decision to apply it was taken. The origins of the FRACs, funded by the state and regional autorities, in order to support contemporary art through exhibitions and purchases, are widely studied. These roots appear to express a compromise between the partisans of a relaunch of art democratization through a larger diffusion, and those of a modernisation of the public intervention in order to better take into account the latest evolutions of contemporary art history. Soon after their foundation. FRACs encountered some profund changements, which the second part of this study describes in details. Many managers of theses institutions chose to follow the professionnal rules of the world art instead of following the initial political goals. This was mainly due to a lack of legitimacy of public intervention in this sensitive field. The third and last part closely examine art purchasing, one of the most specific activities of the FRACs. A "battle" for the definition of art (what is art and what is not) goes with debates about officialization of art and aesthetic criteria through public intervention and massive purchase. Nonetheless, it appears that this intervention remains pluralistic : the works chosen by the FRACs reflect a wide range of "definitions" of art which does not enable to conclude that these institutions contribute to rebuilt academic aesthetic criteria
Campolo, Sylviane. „La métallurgie du bronze dans le Sud-Est de la France durant la protohistoire : les objets en bronze des collections publiques et privées“. Aix-Marseille 1, 2009. http://www.theses.fr/2009AIX10070.
Der volle Inhalt der QuelleFontaine, Alexia. „Conditions d'émergence et développement des collections vestimentaires : patrimonialisation, muséalisation, virtualisation : regards croisés France- Canada-Québec (XIXe-XXIe siècle)“. Doctoral thesis, Université Laval, 2017. http://hdl.handle.net/20.500.11794/28272.
Der volle Inhalt der QuelleCurious about the unexplained advent of the fashion museum, this study originated with the task of identifying and examining the basic characteristics of the “fashion museum, ” which it considers to be a historically specific construct. Since the 1990’s, the fashion museum has asserted itself in the cultural world as a new model of museum. This study inquires into the phenomena that undergirded this flourishing. If this institution first appeared in the 1980’s, it originated from an older model known as the “costume museum”. Thus I intend to undertake a study on the “fashion museum” using the observable phenomenon of the museum itself. To do so, this project inscribes the “fashion museum” in a long heritage tradition, demonstrating the conditions of its emergence and the trajectory that dress collections followed within the broader museum landscape, including the development of other forms of museums, from the first “costume museum” to the fashion museum of today. From a museological perspective, the fashion museum’s arrival as a new category of museum may seem truncated, and introduces ambiguity in the practices of dress collections. On the one hand, its discourse about objects is necessarily incomplete because it does not take into account the full range of typologies of vestimentary artifacts; on the other hand, it siphons interest away from older or less sumptuous collections. This type of museum exists in a state of tension, beholden to the insistence of speaking of “fashion” garments or of haute couture, rather than of costumes, which might appear outmoded. Indeed, the social sciences have show that fashion is a portmanteau word, a point of entry towards understanding the phenomenon of clothing: the history and culture of looks, the economics and sociology of appearances, the technical and industrial systems of dress. A new wave has begun for both research and museums. The passion that fashion elicits in the cultural sphere, with the attention scholars bring to the subject, has contributed to revisiting the approach of even the oldest collections and to stimulating the museological reflection this typology of museum objects that has attained an increasingly significant place within the heritage sector. Museum institutions connected with fashion are far from acquiring only contemporary pieces. The aim of this project is to generate a museology of the vestimentary heritage, thanks to research undertaken dealing with the fundamental characteristics of this phenomenon, a kind of inventory of the museum landscape, and understanding the future prospects of these collections. From the conditions under which the fashion museums emerged, this study seeks to establish a new category of knowledge about the cultural history of clothing: its genesis as heritage and its trajectory as a fitting set of objects for a museum context. On a theoretical level, this dissertation is concerned with the processes of “herigatization” and “musealization, ” essentially those processes by which a type of object becomes part of heritage and of museums. With the goal of explaining these processes, I have therefore conceived of an analytical matrix that brings together the observations of numerous researchers in museum studies and museology. Thus, this project’s theoretical framing has been refined by elaborating the concept of “regimes of museality, ” derived from French historian François Hartog’s notion “regimes of historicity, ” and the concept of “regimes of authenticity, ” adapted from Quebec historian Lucie K. Morisset. These concepts provide the possibility for determining the modalities, logic, and dynamics of the museological phenomenon. This research is based on a crossover study of French and Quebec institutions that form the relevant population: les Musées de la civilisation (Museums of Civilization) in Quebec City, Canada; le Musée des civilisations de l’Europe et de la Méditerranée (Museum of European and Mediterranean Civilisations) in Marseille, France; the Cité internationale de la dentelle et de la mode (International Center for Lace and Fashion) in Calais, France; and the Musée de la mode (Fashion Museum) in Montreal, Canada. A microeconomic examination of the emergence and development of the dress collections at these museums clarifies four cycles at the macroeconomic level of investment of meaning, discursive construction, and elaboration of museum practices specific to vestimentary heritage… Four regimes of museality.
Marandet, François. „Marchands et collectionneurs de tableaux à Paris (1710-1756) : les acteurs et les mécanismes de circulation de la peinture dans la première moitié du 18ème siècle en France“. Paris, EPHE, 2009. http://www.theses.fr/2009EPHE4016.
Der volle Inhalt der QuelleIn France, during the first half of the eighteenth century, the role played by art dealers in the formation of the greatest collections of painting (the Regent, Pierre Crozat, Countess de Verrue, prince of Carignano) remains an obscure matter. The discovery of the account book of an art dealer and of many other archival documents enables us to reconstitute some of the most important transactions of the art market. At the end of the reign of Louis XIV, jewelers like Le Tessier de Montarsis negotiated for the Regent and Pierre Crozat a series of fundamental works art (by Raphaël, Veronese, Poussin), while some "maîtres-peintres" like André Tramblin and Pierre Testard started playing a growing role in the exchanges. After 1720, dealers who came from the Netherlands and who had established themselves in Paris, especially Joseph-Ferdinand Godefroid, were now advising the most famous collectors. Renowned for their gifts as restorers, Flemish dealers promoted Northern genre scenes while the "classical taste" (Poussin, Titian, Tintoretto) fell into some kind of disgrace. The phenomenon can be seen when the collection of La Chataigneraye was auctioned (1733) and when some forty pictures were acquired to enrich the collection of Louis XIV (1742). The auction catalogue was now gradually spreading out and it is through this commercial tool that a mercier like Gersaint tried to develop his business. After 1740, german sovereigns turned more and more to the parisian art market, especially kings Augustus III and Frederic II. In 1756, the beginning of the war of the Seven Years was to put an end to this more european period of the markert of art
Bermes, Emmanuelle. „Le numérique en bibliothèque : naissance d'un patrimoine : l'exemple de la Bibliothèque nationale de France (1997-2019)“. Thesis, Paris, Ecole nationale des chartes, 2020. http://www.theses.fr/2020ENCP0001.
Der volle Inhalt der QuelleSince the 1980s, physical and digital objects of increasing diversity have been described as "heritage". The idea of a digital heritage is thus institutionalized today. However, according to the experience of the BnF over the past twenty years, these new heritage objects, which range from video games to web archives, from digitized rare and ancient books to online media, are not yet considered legitimate.With a period of experimentation, until 2003, then a period of industrialization and professionalization, until 2008, the continuity between written heritage and digital heritage first helped to establish the place of digital documents and collections within the missions of the library. However, the digital heritage also bring profound changes, inherent in the nature of the web and the documentary objects it generates. Ubiquity, volatility, destructuring, massification, internationalization, transversality: these characteristics of the web have forced the BnF to adapt its work processes, its tools and its organization.The study of the process towards the creation of a new digital heritage involves observing institutional tools, as well as studying the stages of this process and the emotions it arouses. Thus we reveal two complementary aspects of this new digital heritage, questioning in depth the identity and missions of the BnF, in its relationship to society and the world. On the one hand, digital developments help the dissemination, mediation and enhancement of existing heritage; on the other hand, new digital heritage objects emerge. In the original vision of a "very large library, of an entirely new type", the mission of digitization was to reconcile heritage with the nation, using technology. Twenty years of experimentation and practice have apparently ended up reversing this logic, making digital a new heritage which the nation is committed to preserve
Grujard, Eric Giblin-Delvallet Béatrice. „Les enjeux géopolitiques de la préservation de la ressource en eau en France“. Saint-Denis : Université de Paris 8, 2008. http://www.bu.univ-paris8.fr/web/collections/theses/GrujardThese.pdf.
Der volle Inhalt der QuelleThiam, Ibrahima Tolédo Alain de. „Le système de financement immobilier en France dans le nouveau concept d'intermédiation financière“. Saint-Denis : Université de Paris 8, 2009. http://www.bu.univ-paris8.fr/web/collections/theses/ThiamThese.pdf.
Der volle Inhalt der Quelle莊小屛 und Siu-ping Amy Chong. „The chansons of Claudin de Sermisy in Attaingnant's Chansons nouvellesand other early collections“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31225871.
Der volle Inhalt der QuelleSabhan, Al-Baidhawe Rabiha Kadri Aïssa. „La place de la langue arabe en France l'exemple de la ville de Poitiers /“. Saint-Denis : Université de Paris 8, 2007. http://www.bu.univ-paris8.fr/web/collections/theses/THESE_Sabhan.pdf.
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