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Brooks, Laura Jeanice. „French chansons collections on the texts of Pierre de Ronsard, 1570-1580 /“. Ann Arbor : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37103588v.
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Chong, Siu-ping Amy. „The chansons of Claudin de Sermisy in Attaingnant's Chansons nouvelles and other early collections /“. Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25085505.
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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.
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Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2008.Title 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.
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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.
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Grodzinski, Veronika. „French Impressionism and German Jews : the making of modernist art collectors and art collections in Imperial Germany 1896-1914“. Thesis, University College London (University of London), 2005. http://discovery.ucl.ac.uk/1444726/.
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This interdisciplinary thesis is the first dedicated study of German Jewish patronage of French Impressionist and post-Impressionist art in Wilhelmine Germany. It investigates the disproportionately strong impact of German Jewish patronage from three perspectives. It examines the significance of Paul Cassirer's modernist art dealership, the prominence of German Jewish art collectors and their modernist art collections and the presence of German Jewish sponsorship at the Nationalgalerie Berlin, the Pinakothek Munich and the Stadelsche Kunstinstitut in Frankfurt am Main. First it examines Impressionism as the 'painting of modern life' in its original French context, focussing on French Jewish dealer-patrons and collectors whose association with French modernist artists influenced not only its iconography, but also involved French Jews in modern art promotion and marketing. The French model serves as a basis for understanding the reception of such art amongst a liberal circle of Germans and German Jews. The study examines the Wilhelmine reaction to French modernism and shows how antagonism toward Jews and France was often linked and interpreted by conservatives as 'alien elements' in nationalist Germany, thus highlighting Impressionism as a threat of a new Weltanschauung. This thesis suggests that although some German Jews acculturated to the dominant Wilhelmine culture, the championing of modernist art actually emphasized their Jewishness and their role as the 'Other' in German society, despite their patriotism. Yet, in the long run, German Jewish taste for the avant-garde had as much influence on German modernism as German taste had on Jews. The study hypothesizes that German Jews embraced French Impressionism as an 'iconography of inclusion' that coincided with their own experience of modern life and thus their patronage served as a component in the construction of their secular identities. The study concludes that strong German Jewish patronage changed the modern art market irrevocably and by doing so it was not only a turning point for the writing of modern art histories, but also for the reassessment of German Jewish cultural identities, thereby proving that the history of modernist European art patronage encompassed also a history of ideas.
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Banguiam, Kodjalbaye Olivier. „Les officiers français : constitution et devenir de leurs collections africaines issues de la conquête coloniale“. Thesis, Paris 10, 2016. http://www.theses.fr/2016PA100045/document.
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Consacrée aux collections africaines des officiers coloniaux français, cette recherche soulève la question de l’exploration et de la conquête de l’Afrique à la fin du XIXè siècle et au début du XXè siècle. Parmi les explorateurs envoyés par les pays européens pour coloniser les populations africaines figurent des hommes de couches sociales et de professions différentes. On peut citer, par exemple, les missionnaires, les administrateurs, les militaires. Il est privilégié ici l’étude de l’action coloniale des officiers français engagés dans une série de régions (Mali, Sénégal, Congo, Tchad, République Centrafricaine…). Lors des missions d’exploration, ces hommes y découvraient un éventail d’objets (armes, instruments de musique, objets d’utilité quotidienne, objets rituels…) qu’ils collectaient sous l’incitation des instructions reçues en France avant leur départ. Il convient d’étudier les provenances géographiques et les conditions d’acquisition de ces objets afin de dégager la particularité des collections rassemblées par les officiers. Au terme de leurs périples, ceux-ci rapportaient en France ces collections qu’ils offraient aux musées comme le Musée de l’Homme et le Musée de l’Armée. Aujourd’hui, le Musée du Quai Branly conserve de précieux dossiers sur ces militaires (Archinard, Brazza, Marchand, Tilho…) ainsi que les traces de leurs dons. Après avoir répertorié environ 1500 objets dont l’histoire est indissociable à celle de la colonisation de l’Afrique, on déduit que ces oeuvres constituent un véritable héritage colonial permettant d’analyser la vision européenne et la perception des militaires français par rapport à la culture matérielle africaine. Par ailleurs, l’étude de cet acquis colonial peut révéler le degré de civilisation des populations locales qui avaient fabriqué et utilisé les articles concernés à la fin du XIXè siècle et au début du XXè siècleThis research concerns the French officers contribution during the colonization of Africa and the quality of the african objects that they collected. It aims to study the exploration and the conquest of Africa at the end of the 19th century and the beginning of the 20th century. During this period, European countries sent in the different parts of the continent many explorers to colonize the population. Those explorers had different social classes and jobs. Among them, there were, for example, religious persons, administrators and soldiers. It is the colonial action of the French officers in the different countries of Africa (Mali, Senegal, Congo, Chad, Central Africa Republic…) that is studing. During the exploration travel, the colonial officers discovered in those countries different kinds of objects. According of the instructions they received in France before their travel, they collected the local objects as the arms, the royal objects, the music objects, the cooking objects, the objects of the traditional ceremony. It’s interesting to study where the objects provided and the conditions of the collect. It’s a best way to know the particularities of the result of the officers discoveries. At the end of the journey in Africa, the officers brought to France the result of the collect and offered the objects to the French museums as the Musée de l’Homme, the Musée de l’Armée. Today, the Musée du Quai Branly is conserving the documents about the exploration travels of many officers (Archinard, Brazza, Marchand, Tilho, Lenfant…) and some of the objects they had collected for studying the customs of the African populations. We interroged about 1500 objects they had collected. The history of those objects is associated to the Africa colonization history. Nowadays, those objects constitute a colonial heritage and permit to analyze the European vision and the military perception about the African material culture and to know the degree of the civilization of the African populations who made and used those objects in Africa at the end of the 19th century and the beginning of the 20th
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Rocher, Yves-Marie. „Le musée de l’Armée et ses collections sous la Troisième République“. Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL163.
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La création officielle du musée de l’Armée au sein de l’Hôtel des Invalides se fait en 1905 du regroupement de deux établissements préexistants, le musée historique de l’Armée et le musée d’Artillerie. Ce faisant, ce sont deux conceptions des collections d’objets militaires qui se regroupent sous une même tutelle. Alors que l’un est avant tout un musée des techniques, soucieux de retranscrire les évolutions de l’armement au fil du temps, l’autre cherche à transmettre au visiteur un sentiment de grandeur nationale intemporelle dont l’armée est le ciment et le reflet. Cette double ascendance va être au cœur des questionnements sur la muséographie et les choix relatifs à la collection durant toute la vie de l’établissement. La place de la mémoire va notamment être un enjeu permanent. Les premiers temps de mise en place de ce grand musée s’arrêtent avec la Grande Guerre qui voit à la fois le musée ralentir son activité et connaître une grande affluence avec l’exposition des trophées et des peintures réalisées sur le front. Cet épisode si particulier de la vie de l’établissement va initier la création de nouvelles salles dès 1915 et donner au musée l’ambition d’être un lieu phare de la mémoire du premier conflit mondial. Cette aspiration se heurte à la fois aux moyens limités du musée alloués par le ministère de la Guerre et à l’expression même de ces commémorations. L’obtention de l’autonomie financière du musée en 1928 va transformer l’établissement qui s’inspire alors des collections privées. Séparant nettement les parties consacrées à la mémoire de celles montrant la collection, l’établissement se donne alors une politique qui perdure au-delà du second conflit mondialThe official creation of the French Army Museum in the Hotel des Invalides occured in 1905, gathering two pre-existent establishments, the Army historic museum and the artillery museum. In so doing it is two conceptions of the collections of military objects that group together under the same administration. One was a museum of techniques, eager to retranscribe the evolutions of the armament over time, the other one tried to transmit to the visitor a feeling of timeless greatness of the french nation symbolized by its Army. This double ancestry is going to be the core of questionings on the museography and the choices relative to the collection during all the life of the establishment. The place of the memory is going to be a permanent stake. The first stages of implementation stopped with the Great War, which saw at the same time the museum slowing down its activity and knowing a big influx with the exhibition of trophies and paintings realized on the battlefield. This episode, so peculiar in the life of the establishment, is going to impulse the creation of new rooms from 1915 onward. Then the Army museum had the ambition to be a key place of the memory of the first world conflict. However this will had to cope with two major difficulties. First, the war ministry didn’t provide enough fees and furthermore the expression of these remembrances after 1918 left the Invalides for other places. In 1928, while the museum obtained its financial autonomy, all the display were changed in a way close to the private collections. Separating the parts dedicated to the memory of those showing the collection, the establishment gave itself a policy which continued beyond the second world conflict
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Harris, John. „Structural coherence in early anthologies of French prose short stories : a study of the unframed collections compiled at the time of François I“. Thesis, Royal Holloway, University of London, 1987. http://repository.royalholloway.ac.uk/items/2e430c40-9caa-4261-a000-45303faea6b4/1/.
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Four anthologies of sixteenth-century French prose contes are examined, with the aim of elucidating the processes which informed their compilation and the reading strategies which they imply, and the relationship between the structural coherence of unframed anthologies and that of collections incorporating a frame-story structure.'Framed' collections and their structures have served as the yardstick against which unframed anthologies have been measured, and judged to be loose compilations whose component tales may be read in any order. Though the view of framed collections implied by this comparison may also be questioned, this study con-centrates on the structural aspects of four anthologies - those by Philippe de Vigneulles and Bonaventure Des P6riers, and the anonymous Parangon de Nouvelles and Parolles Joyeuses - while yet noting the major points of similarity and dissimilarity with framed collections. Evidence for the methods of construction involved and for the reading strategies which were envisaged are sought in the prolegomena, and in the general or particular structural ties made explicit or especially prominent in the stories. This search is extended through a survey of the deeper and implicit levels of consonance between stories, where related elements may be considered to have played an important part in thejuxtaposition of particular narratives or the construction of the whole text and may also influence the ways in which they will be read. Finally, the closure of each anthology is examined and the contribution of its terminal structures evaluated. The evidence of the features identified and classified leads to the conclusion that in each anthology there is a strong linear structure which, while it cannot prevent other reading strategies, encourages a predominantly sequential approach to the stories.
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Papini, Lilian Dalila Trindade de Camargo. „Toulouse-Lautrec no Museu de Arte de São Paulo (MASP)“. Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-27012016-132604/.
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Henri de Toulouse-Lautrec (1863-1901) está presente no acervo do Museu de Arte de São Paulo Assis Chateaubriand (MASP) com onze obras que expõem diferentes momentos do percurso do artista, englobando mais de vinte anos de produção. A partir desse conjunto, o presente trabalho propõe a análise dessas obras, assim como as conjunturas de aquisição e de suas coleções anteriores à entrada no acervo do museu. Buscamos compreendê-las dentro do espaço do museu como objetos carregados de história, que permitem entender a obra e vida do artista, assim como as questões encadeadas pela trajetória dessas obras até o museu.Henri de Toulouse-Lautrec (1863-1901) is present in the collection of the São Paulo Museum of Art Assis Chateaubriand (MASP) with eleven artworks that expose different moments of the artist\'s journey, encompassing more than twenty years of production. This research proposes to examine this set of artworks, as well as situations of acquisition and their previous collections at the entrance to the museum\'s collection, We seek to understand them within the museum space as historical objects, which allow us to understand the work and the artist\'s life, as well as issues posed by the trajectory of these works to the museum.
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Bedianashvili, Giorgi. „The Koban necropolis and the Late Bronze -Early Iron Age Caucasus : Ernest Chantre’s Koban collections from the French National Archaeological (Saint-Germain-en-Laye) and Confluences (Lyon) Museums“. Thesis, Paris, EPHE, 2016. http://www.theses.fr/2016EPHE4035.
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Cette recherche doctorale repose sur l’analyse des collections archéologiques de la nécropole de Koban, découvertes par Ernest Chantre, actuellement conservées au musée d'archéologie nationale de Saint-Germain en Laye et au musée des Confluences à Lyon. La nécropole de Koban située dans le Nord Caucase fût découverte par Ernest Chantre en 1881. Le site de Koban a donné son nom à l’une des cultures du Bronze récent et du premier âge du Fer du Nord Caucase. Cette thèse porte sur l’ensemble des objets mis au jour à Koban, publiés et non publiés. Par une analyse systématique innovante, cette recherche a permis d’élaborer une classification typologique. Ces données ont été comparées avec du matériel provenant d’autres régions du Caucase. Cetteanalyse des objets a notamment permis de comprendre l’environnement culturel de la nécropole de Koban soulignant ainsi des influences d’autres régions du Caucase – Colchis and Shida Kartli. L’une des composantes majeures de cette recherche est la reconstruction des assemblages funéraires de Koban, qui montrent des aspects inconnus à ce jour. De nouvelles datations radiocarbones réalisées sur la tombe 9 nous ont également permis de réexaminer de façon extensive la chronologie de la nécropole de KobanThis work examines Ernest Chantre’s archaeological collections from the Koban necropolis, stored at the National Archaeological Museum of France, at Saint-Germain-en-Laye and the Confluences Museum in Lyon. The Koban necropolis, which was excavated by Chantre in 1881, is located in the North Caucasus. It has given its name to one of the Late Bronze and Early Iron Age cultures of the Caucasus.This dissertation brings to light Koban objects, both published and unpublished, and organizes themin a systematic fashion. Typological classification of each group of objects is examined andpresented. These data are then compared with materials from other parts of the Caucasus. The focus of the research determines the cultural environment of the Koban necropolis in the Caucasus region, as objects from this site reflect certain characteristic features of different regions of the Caucasus such as Colchis and Shida Kartli.One of the main components of this dissertation is the reconstruction of Koban funeral assemblages.These are presented differently here than has previously been done. Along with presenting the assemblages, radiocarbon data is also presented from grave no. 9, which enables us to re-examine, to an extent, the chronology of Koban necropolis
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Zheng, Yongsong. „Blanc de Chine (1490-1949) : l'odyssée de la porcelaine de Dehua“. Electronic Thesis or Diss., Sorbonne université, 2025. http://www.theses.fr/2025SORUL008.
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Traduite telle quelle en chinois moderne, Zhongguo bai 中國白, l'expression « blanc de Chine » sert aujourd'hui à désigner la porcelaine blanche provenant des fours de Dehua, dans la province côtière du Fujian, où elle est fabriquée depuis la dynastie des Ming (1368-1644). Malgré sa présence marquée dans les collections françaises, la recherche spécifique sur cette porcelaine est très limitée, laissant ouvertes les questions d'identification, de provenance et de datation. Cette thèse vise donc à proposer une nouvelle synthèse sur cette porcelaine, partant de sa réception en Europe, puis de sa diffusion pour remonter jusqu'à sa production. Bien qu'inhabituel ou apparemment inversé dans sa logique, cet itinéraire ouvre progressivement la voie à une série de questionnements, ce qui permet de nous guider progressivement jusqu'au berceau même de cette porcelaine. Toutefois, l'ambition de cette thèse n'est pas d'écrire une histoire complète du blanc de Chine, mais plutôt de croiser les perspectives mondiale et locale afin de replacer cette porcelaine dans son contexte propre. Une question fondamentale, bien que paraissant à première vue simple et déjà largement abordée, imprègne l'ensemble de cette étude : quelles sont les spécificités du blanc de Chine ? Autrement dit, qu'est-ce qui définit véritablement un blanc de Chine ? Deux résultats tangibles de cette enquête seraient, entre autres, de contribuer à la mise en valeur des collections françaises et de faire reconnaître la valeur patrimoniale des fours-dragon, dont les techniques artisanales de construction et de cuisson sont aujourd'hui menacées de disparitionTranslated as Zhongguo bai 中國白 in modern Chinese, the term “blanc de Chine” today refers to the white porcelain produced in Dehua kilns, situated in Fujian's coastal province, where production has continued since the Ming dynasty (1368-1644). Despite its prominent presence in French collections, research specifically dedicated to this porcelain remains limited, leaving key questions about its identification, origin, and dating unresolved. This dissertation, therefore, seeks to offer a new synthesis on blanc de Chine, beginning with its reception in Europe, then examining its dissemination, and finally tracing it back to its origins in production. Though unconventional or seemingly reversed in approach, this trajectory gradually brings us to essential questions, ultimately guiding us back to the origins of this porcelain. The aim of this dissertation is not, however, to write a complete history of blanc de Chine. Instead, it endeavors to integrate global and local perspectives to place this porcelain within its unique historical context. One fundamental question—simple in appearance yet widely debated—shapes this study: What are the specific characteristics of blanc de Chine? In other words, what precisely defines blanc de Chine? Among the tangible goals of this work are to enhance the appreciation of French collections and to promote the cultural value of dragon kilns, whose artisanal construction and firing techniques face extinction today
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Watson, Andrew. „Constantine Ionides and the British collecting of French Art“. Thesis, University of Aberdeen, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.508233.
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Squires, Michele B. „Marcel Schwob Digital Collection“. BYU ScholarsArchive, 2008. https://scholarsarchive.byu.edu/etd/1355.
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This project outlines the discovery and digitization of previously unpublished correspondence composed by late 19th century author and literary critic, Marcel Schwob. Inspired by the inquiry of Bibliothèque Nationale Librarian Bernard Gauthier, Professor Daryl Lee alerted me to the presence of Marcel Schwob materials at BYU. I found that former BYU Professor John Green established a Marcel Schwob Memorial Collection and successfully published two books using the materials he gathered: Chroniques and Correspondance Inédite. After thoroughly researching the catalogued Schwob materials at BYU and comparing the contents to other Schwob publications, I found 72 previously unpublished letters. The majority of the letters (62) were written by Schwob to family members, and the remaining 9 letters were written to Schwob by colleagues. International interest in Marcel Schwob materials is one of many indicators representing renewed interest in the author, his work, and his influence. Recent publications also reflect growing Schwob interest. In Marcel Schwob, d'hier et d'aujourd'hui (2002), Christian Berg and Yves Vadé shed new light on Schwob through the observations of his contemporaries and modern-day essays on the importance of his contes. In addition, Jean Lorrain: Lettres à Marcel Schwob (2006) furthers the effort to better understand Schwob through a collection of correspondence. In light of this renewed interest, I determined that the previously unpublished correspondence would serve as a useful research tool for Schwob scholars. With the guidance and assistance of employees at the Harold B. Lee Library, I subsequently converted the correspondence into a digital publication. Creating a digital publication is a multifaceted undertaking requiring the involvement and expertise of different individuals and library departments. I successfully learned how to use both the hardware and software involved in the digitization process, thereby facilitating my completion of project deliverables, including: scanning and transcribing the letters; writing letter summaries (in both French and English), extracting names, and completing other metadata; uploading metadata using the Lee Library's external database; establishing authority control records; writing website content (in both French and English), and publicizing the project. This document contains the major deliverables found in the digital publication, specifically the website content, the letter transcriptions, and the metadata.
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Lasic, B. „The collecting of eighteenth-century French decorative arts in Britain 1789-1914“. Thesis, University of Manchester, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.508798.
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Segreto, Nora. „Collectionner sous le Second Empire : l’exemple du Musée Rétrospectif de 1865“. Thesis, Sorbonne université, 2021. http://www.theses.fr/2021SORUL002.
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En 1865, seulement un an après sa fondation, l’Union Centrale des Beaux-Arts Appliqués à l’Industrie organise sa première exposition, intitulée Musée Rétrospectif. Environ 250 collectionneurs y participent en prêtant une sélection de leurs objets d'art. À l'époque des premières expositions universelles et au moment d'une nouvelle phase de développement industriel, commercial et social, l'État français avait compris que seuls les arts pouvaient garantir à la France le plus grand succès international. En fait, le but des collectionneurs à l’exposition de 1865 était, avant tout, d’instruire les industriels français. Ceux-ci devaient, afin de gagner des prix aux expositions universelles, prendre inspiration des œuvres d’art pour réaliser leurs produits industriels. Mais puisque l’exposition était publique, le but était aussi d’éduquer le plus large public à l’art, de proposer un modèle esthétique et de canaliser les choix esthétiques des visiteurs qui étaient également des consommateurs de la gamme supérieure et qui auraient pu donc ensuite acheter les objets produits sous base industrielle inspirés des œuvres qu’ils avaient admirées à l’exposition. Les collectionneurs du « Musée Rétrospectif » ont été des acteurs sociaux dominants à cette époque, grâce au fait d’avoir compris et représenté la vocation didactique, pédagogique et éducative du Second Empire et du XIXème siècleIn 1865, just one year after its foundation, the Union Centrale des Beaux-Arts Appliqués à l’Industrie organized its first exhibition called Musée Rétrospectif. About 250 collectors took part in it with a selection of their art objects. At the times of the first universal exhibitions, during a new phase of industrial, commercial, and social development, the State understood that only arts could offer a guarantee for France to achieve the highest international success. In fact, the declared aim of the collectors involved in the exhibition was suggesting the French industrialists that winning a prize at the universal exhibitions was possible only if they could inspire their products from the art works. However, since the exhibition was public, there were also some other aims: educating the public to arts, proposing an aesthetic paradigm, and channelling the aesthetic choices of the visitors. Actually, most of them were also among the consumers of high-end products, who could later be interested in buying industrial and light manufacture products inspired by the art works they had admired at the art exhibition. The collectors of the Museé Rétrospectif have been not only among the most important social actors of their times, but they could be considered those who interpreted in the best way the pedagogical and educational vocation of the Second French Empire and the 19th century
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Montreuil, Sophie. „Le livre en serie : histoire et theorie de la collection letteraire“. Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38243.
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This doctoral thesis examines the literary series [collection litteraire], considered at one and the same time as a form of publication defined and redefined by the publisher since the invention of the printing press and as a paratextual component that has the ability to act on the process of reading the text: An original aspect of this work is that it combines in the same analysis fields of knowledge that are rarely studied together: the history of the book and of publishing, the sociology of literature and in particular the theory of the literary institution, the theory of paratextuality and reader response theory. This thesis examines separately the two dimensions of the topic but follows a logical progression that concludes with a third section. The first section explores the hypothesis that the literary series is the outcome of a long process of definition and specialization which has accompanied the evolution of French publishing and literature. It then goes on to examine cases illustrating the "convergence" of the two, such as the "Bibliotheque Bleue", the "Bibliotheque universelle des romans", the "Bibliotheque Charpentier", the collections of livraisons illustrees published in the 1850's, the "Collection Michel Levy" and a few collections published by Flammarion and Fayard. Following a rereading of the Genettien paratexte (1987) that reviews and further refines the parameters of the concept (its boundaries, its components and their functions) in order to increase its scope of action, the second section explores in depth the essence of the encounter between the series and literature itself and proposes a theory of the series which positions it in relation to a community of readers and recognizes a different functioning, different risks and effects depending on whether it is destined for a specialized public or the general public. Finally, the third section picks up the historical thread that the first section suspended at the beginning of the 20th century
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McAuley, James. „Material masterpieces : art collecting and the formulation of French-Jewish identity from Dreyfus to Vichy“. Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:ffdd3e1e-efaa-4b05-b398-b1c9eb947656.
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This thesis relies on an extensive series of previously unexploited archival materials in France, Britain, and the United States to examine the role of art collecting among French-Jewish elites after Dreyfus and before Vichy. The families who constituted France's fin-de-siècle Jewish establishment - among others, the Rothschilds and the Reinachs, the Éphrussis and the Foulds, the Camondos and the Cahen d'Anvers - all shared an intense interest in collecting art and material objects. This interest they pursued with passion throughout a period in which the position of French Jews was increasingly uncertain. The Dreyfus Affair had challenged the promise of assimilation and the social station of the "israélite," while economic circumstances and waves of immigration from Eastern Europe had exacerbated extant French anti-Semitism. As plutocrats, many of these elite families were often even the targets of that anti-Semitism, yet they pursued their material interests regardless. Today, the collections they created - mostly of eighteenth-century French art - are their most enduring legacies, either in the form of individual public museums or as additions in other national museums. To that end, this thesis argues that material culture was central to the experiences of these families as Jews and as people in the French fin-de-siècle. The central contention of this thesis is that material culture was a crucial way in which these elites experienced Jewishness in private and especially in public. Beginning with Hannah Arendt (1951) and Michael Marrus (1971), most of the many studies of this fin-de-siècle milieu have tended to consider these individuals in the respective discourses of politics and culture. Few have emphasized their actual lived experiences as people with complex inner lives. Collecting, as archvial materials suggest, was a means of achieving personal sanctuary and solace in the midst of significant personal tragedies as well as an increasingly hostile external environment. It was also a significant means of preserving public dignity. Even fewer studies, after all, have emphasized the way in which French anti-Semitism of the late nineteenth century - from the likes of the journalist Édouard Drumont and the critics Edmond and Jules Goncourt - was often expressed in the language of material culture: Jews were attacked for "inauthentic" aesthetic tastes and for "invading" the realm of French cultural patrimony. As this thesis argues, Jewish elites responded to that material critique in material terms, amassing exhaustive collections of art and objects that, in their eyes, celebrated France and its glorious past. As many of their last wills and testaments suggest, the network of museums they created in the 1920s and 1930s were all subtle arguments for the compatibility of Frenchness and Jewishness. The Holocaust, of course, fundamentally altered the meaning of these museums as well as the memories of those who established them. This dissertation concludes with a reflection on these museums as "lieux de mémoire," material manifestations not only of vanished people but also of a vanished culture.
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White, Brook. „ANOTHER FORGOTTEN ARMY: THE FRENCH EXPEDITIONARY CORPS IN ITALY,1943-1944“. Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2595.
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The French Expeditionary Corps that fought in Italy during World War II was a French army, but that description must be qualified. Therefore this thesis asks two questions: how did France manage to send the equivalent of an army to Italy if French military leadership in 1943 had no direct access to French manpower resources; and the most important question since it is unique to the historical debate, why were the troops that were sent to Italy so effective once there when compared to the 1940 French army? To answer the first question, it was a French colonial army – soldiers mainly from Africa – that enabled France to send an army to Italy. The second question was not so easily addressed and is actually composed of two parts: current scholarship finds that at the tactical level French troops of 1940 no less capable than the troops in Italy, but more importantly it was the French military leadership's willingness to expend the lives of their colonial solders with little regard that allowed the French Expeditionary Corps to allow the United States Fifth Army to enter Rome just days before the Allied invasion of Normandy. And in order to understand why the French military was willing to expend the lives of its African soldiers, this thesis also had to examine the French colonial system dating to the eighteenth and nineteenth centuries. Finally, this paper explores the different components of leadership that each army, which were African (primarily from North Africa and French West Africa) and metropolitan (mostly from European France), used to lead and direct their men. Thus, this study is more than just a pure military history. It is also a cultural and social history of France in relation to its colonies.M.A.
Department of History
Arts and Humanities
History MA
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Reed, Kristopher Guy. „VISIONING THE NATION: CLASSICAL IMAGES AS ALLEGORY DURING THE FRENCH REVOLUTION“. Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4008.
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In the latter half of the Eighteenth Century, France experienced a seismic shift in the nature of political culture. The king gave way to the nation at the center of political life as the location of sovereignty transferred to the people. While the French Revolution changed the structure of France's government, it also changed the allegorical representations of the nation. At the Revolution's onset, the monarchy embodied both the state and nation as equated ideas. During the Revolutionary Decade and through the reign of Napoleon different governments experienced the need to reorient these symbols away from the person of the king to the national community. Following the king's execution, the Committee government invented connections to the ancient past in order to build legitimacy for their rule in addition to extricating the monarchy's symbols from political life. During the rule of Napoleon, he used classical symbols to associate himself with Roman Emperors to embody the nation in his person. Through an examination of the different types of classical symbols that each government illustrates the different ways that attempted to symbolically document this important shift in the location of sovereignty away from the body of the king to the nation.M.A.
Department of History
Arts and Humanities
History MA
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Behring, Zachary. „Evaluating the Use of Recycled Concrete Aggregate in French Drain Applications“. Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5905.
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Recycled concrete aggregate (RCA) is often used as a replacement of virgin aggregate in road foundations (base course), embankments, hot-mix asphalt, and Portland cement concrete. However, the use of RCA in exfiltration drainage systems, such as French drains, is currently prohibited in many states of the U.S. The French drain system collects water runoff from the road pavement and transfers to slotted pipes underground and then filters through coarse aggregate and geotextile. The primary concerns with using RCA as a drainage media are the fines content and the precipitation of calcium carbonate to cause a reducing in filter fabric permittivity. Additional concerns include the potential for rehydration of RCA fines.
The performance of RCA as drainage material has not been evaluated by many researchers and the limited information limits its use. A literature review has been conducted on the available information related to RCA as drainage material. A survey was issued to the Departments of Transportation across the nation in regards to using RCA particularly in French drains. Some state highway agencies have reported the use of RCA as base course; however, no state reports the use of RCA in exfiltration drainage systems. This thesis describes the investigations on the performance of RCA as backfill material in French drains.
RCA was tested for its physical properties including, specific gravity, unit weight, percent voids, absorption, and abrasion resistance. RCA cleaning/washing methods were also applied to evaluate the fines removal processes. The potential for RCA rehydration was evaluated by means of heat of hydration, pH, compressive strength, and setting time. The permeability of RCA was tested using the No. 4 gradation. Long term permeability testing was conducted to evaluate the tendency for geotextile clogging from RCA fines. Calcium carbonate precipitation was also evaluated and a procedure to accelerate the precipitation process was developed.
The results show that RCA has a high abrasion value, that is, it is very susceptible to break down from abrasion during aggregate handling such as transportation, stockpiling, or placing. The most effective cleaning method was found to be pressure washing with agitation. RCA has not demonstrated the tendency to rehydrate and harden when mixed with water. The permeability test results show that the No. 4 gradation does not restrict the flow of water; the flow rate is highly dependent on the hydraulic system itself, however excessive fines can cause large reductions in permeability over time. It has been determined that No. 4 gradation of RCA can provide a suitable drainage media providing the RCA is properly treated before its use.M.S.
Masters
Civil, Environmental, and Construction Engineering
Engineering and Computer Science
Civil Engineering; Structures and Geotechnical Engineering
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Breitenstein, Renée-Claude. „La rhétorique encomiastique dans les éloges collectifs de femmes imprimés de la première Renaissance française (1493-1555) /“. Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=115600.
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This thesis aims at defining the argumentative terms and strategies of the rhetoric of praise in printed collected eulogies of women of the first half of the XVIth Century, both in collections of famous women (which celebrate exceptional feminine figures) and apologies of the female sex (which defend womankind through praise). The inquiry starts with the first French printed translation of Boccaccio's De mulieribus claris, entitled De la louenge et vertu des nobles et cleres dames (1493), and ends with the Fort inexpugnable de l'honneur du sexe foeminin (1555) by Francois de Billon, who provides the first historic panorama of the encomiastic tradition. Its specificity lies in the combination of two types of collective eulogy, which up to now have been separately analyzed but which in fact deserve to be taken up in a single interpretative gesture. Our approach, that of rhetoric, is founded in composition manuals and treatises on ancient eloquence, as well as recent theory on argumentation. Unlike other studies which take the rhetorical approach, this thesis deals with a relatively short time span, about fifty years, which allows a reading of the texts in their historical and literary contexts. Through the vantage points of inventio and dispositio, this thesis shows how a discourse praising women collectively was built, at a time when women formed the crux of contradicting discourses and the centre of a topics that crystallized those tensions. Beyond this uncertain discursive situation, this thesis also claims to bring to light a neglected aspect of eulogy: its function as definition of object praised. It offers, therefore, a reflection on epideictic rhetoric from a perspective of the poetics of literary genre. This is seen as a space that is propitious to the exploration of ethical stakes, such as the valorization of individual feminine figures, the fashioning of the author's persona or the introduction of secondary objectives which bear new values.
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Christiansen, Naomi Lund. „Learning to Create: A Collection of Personal Essays“. Diss., CLICK HERE for online access, 2004. http://contentdm.lib.byu.edu/ETD/image/etd485.pdf.
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Tallman, Nicole. „Intercultural Communication in the Global Age: Lessons Learned from French Technical Communicators“. Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5873.
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This thesis explores the cultural considerations American technical communicators must address when working with French colleagues and when creating technical documentation for French audiences. A review of the literature on intercultural communication theory was conducted, along with a review of the limited research on technical communication in France and the needs of French audiences. A qualitative online survey of French technical communicators was also conducted. Through this survey, French technical communicators reported on their intercultural beliefs, experiences, and practices, and information, language, and cultural needs. Survey responses were analyzed using inductive thematic analysis. Two main themes were developed as a result of this analysis: the importance of adapting content to French audiences, and the cultural differences between French and American information needs and communication styles. Survey findings were combined with theoretical and practical literature to offer American technical communicators guidance for successful intercultural interactions. This thesis concludes with suggestions for future practice and research in intercultural technical communication.M.A.
Masters
English
Arts and Humanities
English; Technical Communications
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Wyatt, Shelly. „Examining Facebook as a Digitally Immersive Language Environment for French Language Learners“. Doctoral diss., University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/6039.
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This quasi-experimental study examined the impact of interactions with native French language Facebook posts on beginning French language learners' willingness to communicate (WTC) and their attitudes towards the target language and culture in a university setting. In addition, the degree of interaction, by participants, with the French language Facebook posts was recorded and analyzed. This study was conducted during the Spring 2013 semester at the University of Central Florida in Orlando, Florida. Participants in this study were recruited from two sections of FRE 1120, Elementary French Language and Civilization I. Native French language Facebook posts were “pushed” to participants' personal Facebook News Feeds over the course of four weeks, with posts pushed on weekdays only and Facebook polls asking for participant feedback on Fridays. Two instruments were used in this study to obtain participants' demographic information and to measure willingness to communicate as well attitudes towards the target language and culture. In addition, the researcher gathered observational data directly from Facebook.
Data were analyzed using a Split-plot ANOVA and descriptive statistics. A total of 26 participants completed the study, with 14 participants in the control group and 12 participants in the treatment group. Both sections of FRE 1120 were conducted in a traditional, face-to-face format and were taught by the same instructor. Results indicated that participants' willingness to communicate in French and their attitudes towards the target language and culture were not significantly impacted by interaction with native French language Facebook posts. The level of Facebook-facilitated interactions in all areas, including “Liking,” Sharing,” and “Commenting” was low. Self-reported interactions, including reading, viewing and translating of French language Facebook posts; Reading and viewing posts (such as simply viewing a photo) was the most frequently reported interaction, with “Commenting” and “Sharing” was the least common interaction. Opportunities for future research are numerous and include increasing the size of the sample, increasing the length of the study, and selected participants' who are more advanced in their mastery of the target language. The potential of social network sites to serve as digitally immersive environments for foreign language learners should be explored in more depth and across various languages.Ph.D.
Doctorate
Dean's Office, Education
Education and Human Performance
Education; Instructional Technology
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Crandall, Kaitlyn. „The impact of French colonialism in North Africa : Algeria, Tunisia and Morocco“. Honors in the Major Thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1386.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Sciences
Political Science
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Bailey, C. B. „Aspects of the patronage and collecting of French painting at the end of the Ancien Regime“. Thesis, University of Oxford, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.371598.
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Guba, David Alan. „Empire of Illusion: The Rise and Fall of Hashish in Nineteenth-Century France“. Diss., Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/490468.
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HistoryPh.D.
By exploring the history of cannabis in the French Empire, this dissertation builds on recent scholarly efforts to investigate the intersections of France’s national and imperial pasts. As scholar Gary Wilder argued in his seminal work, The French Imperial Nation-State (2005), “French historiography is traditionally guided by a national paradigm for which a correspondence between territory, population, and state is considered normal and the existence of colonies is treated as exceptional.” This fabricated barrier between France’s national and imperial pasts, he argues, conceals the reality that “the metropole and its overseas colonies exercised a reciprocal influence upon one another” and that both should be studied as one political and cultural unit, as what he terms the “imperial nation-state.” As this dissertation demonstrates, the history of drug use and prohibition in France is in large part a story of movement between colony and metropole. From the nation’s first imperial encounter with hashish during Napoleon’s invasion of Egypt in 1798 through the subsequent spread of cannabis use and cannabis-based medications in the French metropole during the middle 19th century to the creation of anti-cannabis laws in France and its North African colonies during the fin de siècle, the circulation of cannabis and ideas about cannabis use between colony and metropole drove the development of prohibition policies in France from the birth of the republic through the early 20th century
Temple University--Theses
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Owens, Eileen Grace. „VISUALIZING MASCULINITY: MEN, FAMILY, AND COUNTRY IN NINETEENTH-CENTURY FRENCH PRINT CULTURE“. Master's thesis, Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/385190.
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Art HistoryM.A.
Focusing on satirical prints from illustrated newspapers, this thesis examines nineteenth-century French notions of masculinity in a culture that linked its reputation for success to the productivity of its male citizens. I will focus on man’s connection to marriage and family life, as these institutions were so closely connected to perceptions of masculinity. Specifically, I look at portrayals of the cuckold and the bachelor—tropes of male identity that deviated from the ideal notions of the French man—and how printed images reflected, commented on, and shaped the ways in which conventional French masculinity was imagined. Examining these lithographs in light of specific social and political shifts, including changing marriage and divorce laws, the rising feminist movement, and the loss of the Franco-Prussian war, will ground my project historically. Popular lithographic prints, from the 1840s to the early 1900s, remarked not only on masculinity itself—the ways in which men should act and look—but also on the ways in which any departures from the norm threatened the French family and nation. Although medical journals and etiquette manuals expounded on the ‘natural’ qualities of men, satirical cartoons that were most often published weekly, were immediately pertinent in their commentary. Using prints to decode these ever-prevalent issues of masculinity, my project makes clear why representations and notions of certain types of masculinity were so alarming to French audiences. Although much of the scholarship around nineteenth-century French lithography deals with the censorship issues and political implications of the illustrated newspapers, I focus instead on the social ramifications of such images. I emphasize the distinctive nature of such prints—the audience, the circulation, and the cultural impact of printed images themselves. Looking to both art and social historical texts, I concentrate on the everyday realm of printed images, and what it meant for Parisian men and women to be surrounded by such tropes. My thesis connects the growing concerns over family and marriage to issues of failed masculinity and the ways in which they were addressed in the print culture across the century. It explores how these satirical cartoons provided a humorous, yet urgent, visual attempt to illuminate the tricky and conflicting expectations of French men in the nineteenth century.
Temple University--Theses
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Kamph, Molly. „Examining Commodity, Agency, and Value| Prehistoric French Replicas, Casts, and "Frauds" within the National Museum of Natural History's Collection“. Thesis, The George Washington University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10283252.
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From approximately 1850 to the beginning of World War II, archaeological collaboration between the United States and France was at its peak in terms of the study of human prehistory. This span of time will be referred to as a “golden age” of exchange, which resulted in thousands of objects being sent from France to be housed in museums and institutions of higher education in the United States. Within these collections, the presence of replicas, casts, and even objects questionably catalogued by the museum as “frauds” highlight the underlying value of the broader collecting ideologies. Through a statistical analysis of the French prehistoric collections at the National Museum of Natural History that includes replicas, casts, and “frauds” as well as case studies into specific objects, I hope to explore the patterns of motivations and range of perspectives of the various actors within the process of creating, collecting, and distributing these objects. More in-depth, biographical case studies will also allow for a glimpse into the complex and often ambiguous social lives of certain objects within these collections (Kopytoff 1986). Overall, the presence of replicas, casts, and “frauds” becomes a lens into which commodity, agency, and value of the prehistoric French collections can be examined and analyzed.
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O'Brien, Maria Teresa. „The evolution of tales in Europe and George Sand's work throughout the K-12 curriculum“. Honors in the Major Thesis, University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1300.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Education
Foreign Language Education
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Maurer, Nancy. „THE EVOLUTION OF FRENCH IDENTITY: A STUDY OF THE HUGUENOTS IN COLONIAL SOUTH CAROLINA, 1680-1740“. Master's thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3740.
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This thesis examines the changes that occurred in the French identity of Huguenot immigrants to colonial Carolina. In their pursuit of prosperity and religious toleration, the Huguenots' identity evolved from one of French religious refugees to that of white South Carolinians. How and why this evolution occurred is the focus of this study. Upon arriving in the colony in the 1680s and 1690s, the Huguenots' identity was based on several common factors: their French language, their Calvinist religion, and their French heritage. As the immigrant group began to build their new lives in Carolina, these identifying factors began to disappear. The first generation's identity evolved from French immigrants to British subjects when they were challenged on the issues of their political and religious rights and, in response to these challenges, requested to become naturalized subjects. The second generation faced economic challenges that pitted planters against the wealthier merchants in a colony-wide debate over the printing of paper currency. This conflict created divisions within the Huguenot group as well and furthered their identity from British subjects to planters or merchants. Another shift in the Huguenots' identity took place within the third generation when they were faced with a slave uprising in 1739. The Huguenots' involvement in finding a legislative solution to the revolt completes this evolutionary process as the grandchildren of the immigrant generation become white South Carolinians. This thesis expands the historical data available on immigrant groups and their behaviors within colonial settlements.M.A.
Department of History
Arts and Humanities
History
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Konstantinova, Natalia P. „The short stories of Ivan Turgenev - the link between French and Russian naturalism : a comparative approach“. Honors in the Major Thesis, University of Central Florida, 1999. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/70.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Sciences
Foreign Languages
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Fedorka, Drew. „Legitimizing the "republican monarch" a reexamination of French foreign policy in the Atlantic Alliance, 1958-1960“. Honors in the Major Thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/548.
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This thesis focuses on the role foreign policy played in legitimizing the early French Fifth Republic from 1958 to 1960. I argue that President Charles de Gaulle employed foreign policy in the service of gaining public support for his new government and the new republic. Many historians have argued previously that his foreign policy of grandeur, as it came to be called, was used to recast international politics and France's role in them. My work diverges from these previous interpretations by arguing that Gaullist foreign policy served, in many instances, overarching domestic goals, not French international interests. I see foreign policy as inseparable from the broader domestic ambition to craft a persuasive narrative of renewal and national unity under Gaullist stewardship. In the process, my study puts de Gaulle's foreign policy into the context of his larger aspiration to precipitate constitutional reform and, thereafter, ensure popular support. De Gaulle exploited opportunities to use foreign policy in order to shape public opinion, both domestically and internationally. These efforts, as my research reflects, helped foster public support for the new regime and, by portraying national renewal, further discredited the preceding Fourth Republic.B.A.
Bachelors
Arts and Humanities
History
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Graheli, Shanti. „The circulation and collection of Italian printed books in sixteenth-century France“. Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/7809.
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This thesis is an examination of the circulation networks and the patterns of collection of Italian printed books in France in the sixteenth century. Although the cultural relations between the Italian and French territory have been studied, a systematic survey to assess the impact of books on the shaping of the French Renaissance has never been attempted. The first section of this study examines the trade routes and networks which facilitated the circulation of Italian printed books across the French territory. Because of the nature of the French early modern book trade, focused primarily on two major centres (Paris and Lyon), a geographical division has been adopted in investigating this phenomenon. Chapter one explores the trade networks existing in sixteenth-century Lyon, from the powerful Compagnie des Libraires to the activity of the libraires italianisants in the second half of the century. Chapter two examines the importance of Italian editions in Paris. Chapter three is devoted to the circulation of Italian books in the provinces and the impact of large regional centres and trade routes on the availability of books locally. Chapter four investigates private networks and their importance in making specific texts available to French readers. The second section of this study investigates the status and importance of Italian printed books within French Renaissance libraries. Chapter five looks into the development of the French Royal library and the role played by Italian items in defining its identity as an institution. Chapter six examines the presence of Italian books in French aristocratic and courtly collections. Chapter seven is devoted to the libraries of the French literary milieu, analysing the extent to which Italian books were cherished as literary exemplars, particularly with regard to vernacular texts. Chapter eight examines the presence of Italian books in professional collections, with particular attention here given to texts in Latin and other scholarly languages imported from Italy. The conclusion draws all of these strands together, looking at the specific role played by Italian culture, through the printed book, on the development of the French Renaissance. A catalogue of about 2,400 Italian printed books with early modern French provenance is included as an appendix volume. This data provides the evidential basis for this study.
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Pegram, Juliette. „Baudelaire and the Rival of Nature: the Conflict Between Art and Nature in French Landscape Painting“. Master's thesis, Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/163974.
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Art HistoryM.A.
The rise of landscape painting as a dominant genre in nineteenth century France was closely tied to the ongoing debate between Art and Nature. This conflict permeates the writings of poet and art critic Charles Baudelaire. While Baudelaire scholarship has maintained the idea of the poet as a strict anti-naturalist and proponent of the artificial, this paper offers a revision of Baudelaire's relation to nature through a close reading across his critical and poetic texts. The Paris Salon reviews of 1845, 1846 and 1859, as well as Baudelaire's Journaux Intimes , Paradis Artificiels and two poems that deal directly with the subject of landscape, are examined. The aim of this essay is to provoke new insights into the poet's complex attitudes toward nature and the art of landscape painting in France during the middle years of the nineteenth century.
Temple University--Theses
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Yu, Yue. „La diffusion et la réception des arts graphiques japonais modernes en France (1919-1939)“. Electronic Thesis or Diss., Université de Lille (2022-....), 2023. http://www.theses.fr/2023ULILH062.
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Durant les années 1920 et 1930, le Japon et la France ont eu des échanges culturels particulièrement riches. Les artistes japonais sont venus en nombre à Paris pour étudier la peinture à l'occidentale, certains allant jusqu'à concourir dans des Salons parisiens ; au moins 200 d'entre eux ont exposé dans les Salons de Paris. Du côté japonais, on observe par exemple 32 expositions collectives organisées en France pendant cette période autour d'artistes japonais, soit du fait du gouvernement impérial, soit à l'initiative des artistes eux-mêmes. Plus de 70 expositions individuelles dans les galeries parisiennes leur ont été dédiées. Du côté français, le marchand d'art Herman d'Oelsnitz et la Société d'art franco-japonaise ont ainsi organisé pas moins de 23 expositions d'art français au Japon. En 1928, des chefs-d'œuvre du musée du Luxembourg ont été envoyés à Tokyo, tandis qu'une exposition d'art japonais a eu lieu au musée du Jeu de Paume en 1929. Issus de cette exposition, en dehors des 13 peintures achetées par l'État français, 81 peintures et 31 objets d'art ont été vendus à des collectionneurs privés. En outre, 19 gravures ont été achetées par l'État français. Ces relations particulièrement intenses nous conduisent à nous demander : pourquoi les artistes japonais sont venus à Paris ? Concernant les expositions d'art japonais, quels ont été les critères de sélection adoptés par le Japon ? Comment les artistes japonais et leurs œuvres étaient-ils perçus en France ? Sur quel type d'œuvres se concentraient les acquisitions en France, la peinture de style japonais (nihonga) ou la peinture de style occidental (yōga), ou encore les deux ? Les analyses ouvriront la voie à une meilleure compréhension des échanges dynamiques entre le Japon et la France, échanges dont l'importance se retrouve également dans les enjeux spécifiques du monde de l'art d'aujourd'huiDuring the 1920s and 1930s, Japan and France enjoyed particularly rich cultural exchanges. Many Japanese artists came to Paris to study Western painting, some going so far as to compete in Parisian Salons. At least 200 artists exhibited at the parisiens Salons. On the Japanese side, for example, 32 group exhibitions of Japanese artists were organised in France during this period, either by the imperial government or on the initiative of the artists themselves. More than 70 solo exhibitions in Parisian galleries were also dedicated to Japanese artists. On the French side, the art dealer Herman d'Oelsnitz and the Société d'art franco-japonaise organised no fewer than 23 exhibitions of French art in Japan. In 1928, masterpieces from the Musée du Luxembourg were sent to Tokyo, while an exhibition of Japanese art was held at the Musée du Jeu de Paume in 1929. After this exhibition, apart from the 13 paintings bought by the French state, 81 paintings and 31 decorative arts were sold to private collectors. As for prints, 19 were bought by the French State. These particularly intense relations lead us to ask questions such as: why did Japanese artists come to Paris? What selection criteria did Japan adopt for exhibitions of Japanese art? How were Japanese artists and their works perceived in France? What type of work was acquired in France, Japanese-style painting (nihonga) or Western-style painting (yōga), or both? The analyses will pave the way for a better understanding of the dynamic exchanges between Japan and France, exchanges whose importance is also reflected in today's art world
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NAQVI, MOHAMMAD. „RELATIONSHIP ANALYSIS BETWEEN INTERSTIAL SPACE AND COLLECTING DUCT AREA WITHIN FRESH RAT KIDNEY“. Thesis, The University of Arizona, 2008. http://hdl.handle.net/10150/190712.
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Ligneul-Lechable, Maite. „L'emploi dans les procédures collectives : étude comparée des droits français et allemand“. Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01D039.
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Dans la logique des procédures collectives, l'emploi des personnes ne permet pas la reconnaissance de l'emploi. La reconnaissance de l'emploi dans les procédures collectives suppose d'identifier la personne employeur, et la personne employée. Or, la différence de l’employeur et de l'employé n'entre pas dans la logique des procédures collectives. Au contraire, l’effet de la procédure collective sur la personne du débiteur induit la suppression de la communauté humaine de travail constituée par l'entreprise capitalisteNo English summary available
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Pearce, Ariel Leah. „Fresh Water Scenes in Minoan Art“. Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/451958.
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Art HistoryPh.D.
The goal of this dissertation is to provide a comprehensive study of scenes of fresh water in Minoan art from the Middle Minoan II (MM II) through the Late Minoan I (LM I) periods. This dissertation addresses and fills the gap in the scholarship regarding the depiction of riparian environments and the special place of these depictions in Aegean art. It also attempts to clarify the use and function of riverscapes across chronological periods. Rivers, marshes, streams, and springs, appear on a variety of media and fulfil multiple functions from MM II onward. Images of fresh water were used as topographical markers, ornamentation and decoration, and for religious purposes. Moreover, several images suggest that the Minoans may have believed that the realm for the goddess (or one of the goddesses) was a lush, riverscape. A second goal of this dissertation is to clarify and dispose of the term “Nilotic” as a label for images of fresh water in the Aegean. Since its introduction into the literature of Aegean studies in the beginning of the 20th century, the term “Nilotic” has been used inconsistently to describe Aegean scenes of fresh water that may or may not contain Egyptian elements. This assumption has led some scholars to state that Aegean riverscapes are ultimately derived from Egyptian scenes of fishing and fowling because they share similar iconographic elements. Unfortunately, the process of synthesis is important to the understanding of Aegean riverscapes, and iconographic similarities are somewhat superficial. Furthermore, the term has been used without regard for a long-standing tradition of the depiction of riparian environments in Bronze Age Aegean art. To fully address both goals of this project, the origin of individual iconographic elements has been traced through various media, including glyptic art, pottery, and wall painting. Wall paintings from the Cyclades and some Late Helladic IA scenes have been included when appropriate. Whenever possible, categories of riverscapes have been grouped together, but each wall painting, has been examined and interpreted individually. Some unique, highly pictorial, and detailed images in other media have also been addressed separately. Parallels in Egyptian and, in some cases, Near Eastern art have been sought to determine the validity of the term “Nilotic,” and a special study of Egyptian scenes of hunting in the marshes has been conducted in comparison to Aegean scenes. Iconography, synthesis, and context have all been taken into consideration.
Temple University--Theses
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Gac, Maciej. „Group litigation as an instrument of competition law enforcement : analysis based on European, French and Polish experience“. Thesis, Toulouse 1, 2016. http://www.theses.fr/2016TOU10032.
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DiLiberto, Stacey Lynn Barreto. „Remediation and the task of the translator in the digital age digitally translating Simone Schwarz-Bart's Pluie et vent sur T??lum??e Miracle“. Doctoral diss., University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4754.
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In this qualitative study, I examine the utilization of electronic publication and electronic writing systems to provide new possibilities for the translation of French Caribbean literary texts. Using Simone Schwarz-Bart's 1972 novel Pluie et vent sur T??lum??e Miracle specifically for analysis and exploration, I investigate the potential of digital technology to aid in the production of literary translations that are mindful not only of the dynamics of language, but of French Caribbean women's discourse as well. Since the cultural turn of translation studies, translators need not only be bilingual but bicultural as well, having a discerning knowledge and familiarity of the culture that they render. Cultural translation scholars, therefore, have argued that translators should make the reasons for their translation choices known through annotations, prefaces, introductions, or footnotes. Advancing this established claim through critical and theoretical analysis and the construction of hypermediated textual translation samples from Pluie et Vent, I argue that translators can make their choices known by utilizing digital writing and hypermedia tools, such as TEI-conformant XML, and using them for computer assisted translation (CAT) and electronic publication. By moving a new translation of Schwarz-Bart's text to a digital space, translators have more options in how they present their renderings including what information to include for better textual interpretation and analysis. The role, thus, of the translator has expanded. This person is not just a translator of language and culture, but an editor who provides scholarly information for critical interpretation. She is also a programmer who is skilled in new media writing and editing tools and uses those tools rhetorically to invent new methods for the electronic translation of literature.ID: 030646272; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web; Thesis (Ph.D.)--University of Central Florida, 2011.; Includes bibliographical references (p. 189-202).
Ph.D.
Doctorate
English
Arts and Humanities
Texts and Technology
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Gemis, Vanessa. „Femmes de lettres belges, 1880-1940: identités et représentations collectives“. Doctoral thesis, Universite Libre de Bruxelles, 2009. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210262.
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Entre 1880 et 1940, la Belgique francophone voit un accroissement significatif du nombre de femmes de lettres. À la croisée de l’histoire des femmes et de l’histoire des lettres belges, ce phénomène enregistre les nouvelles modalités d’inscription des femmes dans l’espace public, et en particulier leur accès progressif aux professions intellectuelles. Partant des acquis des études de genre (gender studies) et de la sociologie de la littérature, la thèse se propose d’étudier le rapport collectif et individuel que les femmes de lettres entretiennent vis-à-vis du littéraire.Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished
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Laurita, Cecilia. „Revitalising a historic knowledge resource: an archaeometric investigation of the Mora wall painting Sample Collection (ICCROM)“. Master's thesis, Universidade de Évora, 2018. http://hdl.handle.net/10174/30159.
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This master's thesis focuses on the archaeometric investigation of the Mora wall painting Sample Collection, held at the International Centre for the Study of the Preservation and Restoration of Cultural Property (ICCROM), in Rome, Italy.
The collection itself is considered as a unique resource for understanding ancient wall painting technologies. The overall aim of this study was to explore its potential value through the analytical investigation of samples and through the research of contextual information within the ICCROM's Archives.
The selected multi-analytical methodology consisted mainly of portable instru mentation (optical digital microscopes, spectrophotometer, FORS, h-XRF) and micro invasive techniques (micro-FTIR and micro-XRD).According to the acquired data, the chromatic palette of the analysed fragments consisted of red and yellow ochres, cinnabar, minium, green earth and Egyptian blue; the binding material revealed was calcite. The painting technique could be either fresco or a secco lime-painting, since stratigraphic information of the samples were lacking;
Resumo:
Revitalizar uma fonte de conhecimento hist6rico: investigação; ao arqueométrica da coleção de amostras de pinturas murais dos Mora (ICCROM).
0 presente trabalho é dedicado á investigação arqueométrica dos fragmentos de pin tura mural da Colecção Mora, conduzidas no Centro Internacional para o Estudo da Preservação e Restauração de Propriedade Cultural (ICCROM), em Roma, Itália.
A coleção de Paolo e Laura Mora e considerada única no âmbito de compreender as tecnologias utilizadas na execução de pinturas murais antigas.
0 objectivo principal desta investigação foi de explorar o potencial valor da colecção através da investigação analítica de amostras, em conjunto com a pesquisa de informação contextual presente no arquivo do ICCROM.
A metodologia multi-analítica selecionada para este trabalho consiste essencialmente no emprego de instrumentações portáteis (microscopia óptica, colorimetria, FORS e h-XRF) e tecnicas micro-invasivas (µ-FTIR e µ-XRD ).
De acordo com os resultados obtidos, nas camadas de pintura investigadas estavam presentes vermelho ocre e amarelo ocre, cinábrio, mínium, verde terra e azul egípcio. 0 material ligante foi identificado como calcita e nenhum material orgânico foi detectado. A técnica de pintura mural utilizada pode ter sido tanto a fresco como pintura a cal a secco.
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Oyono, Marlène. „La protection des sûretés réelles exclusives dans les procédures collectives en droit comparé franco-OHADA“. Thesis, Montpellier, 2016. http://www.theses.fr/2016MONTD036/document.
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L’entreprise, quelle que soit sa taille, sa forme ou son importance n’est jamais à l’abri des difficultés financières pouvant la conduire à l’ouverture d’une procédure collective. Cette situation n’est pas sans conséquence sur les acteurs de l’entreprise, et notamment, sur les créanciers, partenaires essentiels à l’exercice de l’activité de l’entreprise. Ainsi, pour se prémunir contre le risque d’insolvabilité du débiteur, les créanciers peuvent tenter de bénéficier des causes légitimes de préférences, appelées sûretés. Mais celles-ci forment un ensemble complexe au sein duquel on retrouve des sous-groupes. Il existe, en effet, en droit français et en droit OHADA, une diversité de sûretés aussi bien personnelles que réelles. D'une manière générale, il est aujourd'hui admis que, dans la catégorie des sûretés réelles, celles dites "exclusives", en l’occurrence celles qui sont fondées sur la rétention ou sur la propriété du bien objet de la garantie, parviennent à tirer à leur épingle de jeu, en cas d’ouverture d’une procédure collective. Il en résulte une véritable protection de ces sûretés. L’exclusivité va en effet leur permettre d’échapper aux règles découlant de l’ouverture d’une procédure collective. Par ailleurs, les créanciers munis de sûretés réelles exclusives vont pouvoir déroger à certaines règles traditionnelles de la discipline collective. Cependant, la protection dont bénéficient ces sûretés ne les place pas à l’abri des exigences des procédures collectives. Au contraire, l’effectivité de leur protection est largement subordonnée à leur existence dans ces procédures, d’une part, et, dans une certaine mesure, à la réalisation des objectifs du droit des procédures collectives, d’autre part. Ainsi, bien que protégées, les sûretés réelles exclusives ne sont pas au-dessus de la procédure collectiveA company, whatever it size, form or importance is never away from financial difficulties that could lead it to collective proceeding. This situation is not without any consequences on the company's players, especially, creditors, who are the main collaborators in the company's exercise. Thus, to protect themselves from the risk of insolvency of the debtor, they can try to get legitimate preferential consideration, called securities. But these one make a complicated ensemble in which we can find subgroups. In French law and OHADA law, there is, in fact, a variety of securities, as well personal securities as securities right. In general terms, it is allowed today, that, in the securities right group, those called "exclusives" - the one based on the retention or on the property of the good, subject of the guarantee - succeed to pull out in case a collective proceeding is opened. Resulting in an absolute protection of these securities. The exclusivity will allow them to avoid the rules following the opening of a collective proceeding. Besides, creditors armed with securities right will be able to break with some traditional regulation from collective discipline. Yet, the protection tied to these securities don't shielded them from the requirements of collectives proceedings. On the contrary, the validity of their protection is wildly subject to their being in these procedures, on one hand, and to the fulfillment of the goal of collective proceeding law, on the other hand. So, even though they are protected, the exclusive securities right are not above the collective procedure
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Berry, Jefferson. „The Schemes of Public Parties: William Allen, Benjamin Franklin and The College of Philadelphia, 1756“. Master's thesis, Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/106604.
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HistoryM.A.
Chief Justice William Allen and Benjamin Franklin met hundreds of times prior to Franklin's departure to London in 1757, and yet very little has been written about Allen. For over twenty years, Franklin and Allen worked closely on a variety of municipal improvements: the library, the hospital, the school, the fire company and many other projects that were the first of their kind in America. And while Allen was Franklin's main benefactor for close to twenty-five years --it was Allen's endorsement of Franklin that got him his job as Postmaster-- Franklin mentions him only twice in his
Temple University--Theses
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Wong, Wendy Helen. „Diplomatic Subtleties and Frank Overtures: Publicity, Diplomacy, and Neutrality in the Early American Republic, 1793-1801“. Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/279536.
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HistoryPh.D.
Americans view neutrality in the 1790s as the far-seeing wisdom of the Founders and a weak power's common-sense approach to a transatlantic war in which it could not afford to get involved. Far from this benign image of prudence, however, neutrality in the Early Republic was controversial: it was a style and paradigm of foreign policy that grappled with the consequences of a democratic politics exacerbated by diplomatic crises. Far from promoting tranquility, neutrality provoked uproar from the very beginning. Intense print battles erupted over sensational exposés of foreign influence and conspiracy, reverberating through the international, national, and local levels simultaneously. Print exposés of foreign intrigue provoked partisan warfare that raised the larger, unsettled (and unsettling) issues of the national interest, the exercise of federal power, and the relationship between the people and their government. This dynamic reflected and exacerbated preexisting sectional fissures in the union, triggering recourse to the politics of slavery. As a result, the politics of slavery calibrated the competing national visions of the emerging Federalists and Republicans, defining the limits of American independence while challenging the ability of the United States to remain neutral. Drawing on the efforts of diplomatic historians, political historians and literary scholars, this work illustrates the mutually constitutive relationship between print politics, foreign relations, and the politics of slavery in the Early Republic. It argues that neutrality was a style of foreign policy that both political parties used to contain sectionalism and faction, and that print politics and the politics of slavery combined to create a dynamic that made that style malleable.
Temple University--Theses
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Golding, Christopher Thorn. „At Water's Edge: Britain, Napoleon, and the World, 1793-1815“. Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/430911.
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HistoryPh.D.
This dissertation explores the influence of late eighteenth-century British imperial and global paradigms of thought on the formation of British policy and strategy during the French Revolutionary and Napoleonic Wars. It argues that British imperial interests exerted a consistent influence on British strategic decision making through the personal advocacy of political leaders, institutional memory within the British government, and in the form of a traditional strain of a widely-embraced British imperial-maritime ideology that became more vehement as the conflict progressed. The work can be broken into two basic sections. The first section focuses on the formation of strategy within the British government of William Pitt the Younger during the French Revolutionary Wars from the declaration of war in February 1793 until early 1801. During this phase of the Anglo-French conflict, British ministers struggled to come to terms with the nature of the threat posed by revolutionary ideology in France, and lacked strategic consistency due to acute cabinet-level debates over continental versus imperial strategies. The latter half of the work assesses Britain’s response to the challenges presented by Napoleonic France. Beginning with the debates surrounding Anglo-French peace negotiations in late 1801, the British increasingly came to define Napoleonic France as a regime harboring imperial aspirations that represented an explicit threat to British imperial interests. By defining the Napoleonic regime as an aspirational imperial power, British opponents of the Peace of Amiens provided the intellectual framework for the hegemonic struggle between land and sea powers that would define the Anglo-French struggle until its conclusion in June 1815. While Britain ultimately proved successful in defeating France in Europe, the expanse of the conflict also exposed the strengths and weaknesses of British force projection outside of Europe at the beginning of the nineteenth century.
Temple University--Theses
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Woetmann, Christoffersen Peter Manley James. „French music in the early sixteenth century : studies in the music collection of a copyist of Lyons : the manuscript Ny kgl. Samling 1848 2 ° in the Royal Library, Copenhagen /“. Copenhagen : Museum Tusculanum Press, 1994. http://catalogue.bnf.fr/ark:/12148/cb36959192q.
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Glenn, Brittany Austin. „(M)otherhood : the mother symbol in postcolonial francophone literature from West Africa and the Caribbean“. Honors in the Major Thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1083.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Humanities
French
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Chin, Simone. „Working Memory in Bilinguals and Second Language Learners“. Honors in the Major Thesis, University of Central Florida, 2005. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/748.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Sciences
Psychology