Thematische Bibliographien / Notre Dame Cathedral, Paris, France

Auswahl der wissenschaftlichen Literatur zum Thema „Notre Dame Cathedral, Paris, France“

Autor: Grafiati

Veröffentlicht am 27. Juli 2024

Zuletzt aktualisiert am 29. Juli 2024

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Zeitschriftenartikel zum Thema "Notre Dame Cathedral, Paris, France"

Glorennec, Philippe, Aurélia Azema, Séverine Durand, Sophie Ayrault und Barbara Le Bot. „The Isotopic Signature of Lead Emanations during the Fire at Notre Dame Cathedral in Paris, France“. International Journal of Environmental Research and Public Health 18, Nr. 10 (19.05.2021): 5420. http://dx.doi.org/10.3390/ijerph18105420.

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When Notre Dame de Paris cathedral caught fire on 15 April 2019, lead particles were deposited in its surroundings. Our objective was to determine whether the lead plume had a homogeneous isotopic signature (i.e., a set of homogenous isotopic ratios), and whether, if so, this was different from common sources. In January 2020, dust samples were collected from six areas inside the cathedral, downwind of the fire, as well as from eight roof debris fragments. These samples were mineralized and analyzed using ICP-MS. Their isotopic ratios (207Pb/206Pb and 206Pb/204Pb) were determined and then compared both to each other and to previous published ratios measured in home dusts and blood samples collected in France. The isotopic ratios of dust samples collected inside the cathedral were compatible with each other and with the roof fragments. These isotopic ratios are common and differ neither from those of many other dusts collected in France during the period 2008–2009, nor from those of blood samples collected from children in France during the same period. Moreover, the fire’s isotopic signature is close to the overall signature for Paris. Indeed, it would be difficult to attribute the fire at the cathedral to either lead poisoning or environmental contamination.

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Everist, Mark. „From Paris to St. Andrews: The Origins of W1“. Journal of the American Musicological Society 43, Nr. 1 (1990): 1–42. http://dx.doi.org/10.2307/831405.

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Recent research has suggested that W1 may have been copied in St. Andrews in the 1240s. Very little attempt has been made to understand why or how the virtuoso polyphony associated with the cathedral of Notre-Dame in Paris came to be cultivated so far from home. The article argues for a redating of the manuscript in the 1230s and therefore rejects the suggestion that the interest in polyphonic music was generated by Bishop David Bernham (in office from 1239-1253) and points to his predecessor, Guillaume Mauvoisin (1202-1238) as the agency by which Parisian music was transmitted from Paris to St. Andrews. Mauvoisin's career is reconstructed with particular attention to his contacts with France and his exposure to the music of the so-called Notre-Dame school. It is concluded that a member of Mauvoisin's familia, perhaps Mauvoisin himself, provided the driving force for the promotion of Parisian polyphony at St. Andrews as a result of the discovery of that repertory during travels in France in the first quarter of the thirteenth century.

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Paszkowski, Zbigniew W., und Magdalena Balcerzak. „FIRE PROTECTION IN RELIGIOUS MONUMENTS: ON THE EXAMPLE OF NOTRE-DAME DE PARIS AND THE CATHEDRAL OF ST. PETER AND ST. PAUL IN NANTES, FRANCE“. Space&FORM 2023, Nr. 54 (22.06.2023): 7–30. http://dx.doi.org/10.21005/pif.2023.54.b-01.

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The cases of the fires of Notre-Dame in Paris and St Peter and St Paul in Nantes present the effects of the gradual neglect of monument conservation and their impact on a decrease in safety. The causes and consequences of the fires were described. Differences in the methods of technical protection and reconstruction after a fire have been specified. It was reported that in the Cathedral in Nantes, the wooden truss was replaced with a concrete one, whereas in Notre-Dame the original truss will be recreated. The need to select fire protection and reconstruction methods on a case-bycase basis and use comprehensive fire-resistance systems was indicated.

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Pruden, Meredith L. „For Whom the Bell Tolls: Memeing French Landscape on Instagram“. Vista, Nr. 5 (31.12.2019): 149–70. http://dx.doi.org/10.21814/vista.3044.

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On the evening of April 15, 2019, hoary plumes of smoke erupted from Notre-Dame Cathedral and rolled across the rooftops of the Ile de la Cité in Paris, France. World leaders expressed their condolences over the loss, and many experts publicly warned that, though it can be rebuilt, the 12th-century monument to Catholicism will never “be the same”. By the end of the next day, cathedral bells tolled across the city in honor of the devastating fire and hundreds of millions in euros already had been pledged, with the uber-wealthy leading the way. In the days that followed the fire, the fire and fundraising efforts garnered a veritable tempest of media coverage and ignited a social media fervor. The hashtag #NotreDameFire trended on Twitter, spread virally across Facebook and, to date, has garnered almost 22,000 posts on Instagram. Much of this online popular discourse has not been as kind and can be read as a form of political struggle around the meaning and identity of Notre-Dame waged on the digital archive of Instagram. This article examines the #NotreDameFire hashtag on Instagram, reading the associated visuals through the framework set out by Cara A. Finnegan in Making Photography Matter: A Viewer’s History from the Civil War to the Great Depression. It considers Finnegan’s presence, character, appropriation and magnitude in the context of Instagram as an archive of, in this case, both site and sight of one imperial landscape — Notre-Dame Cathedral.

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Lu, Ke, Chaoyang Zhang, Jiahao Li und MingDer Jean. „Virtual Reality for the Visualised-Guided Tours of the Notre Dame Museum in Paris“. International Journal of Social Sciences and Artistic Innovations 4, Nr. 3 (10.07.2024): 1–7. http://dx.doi.org/10.35745/ijssai2024v04.03.0001.

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This study aims to explore the application of virtual reality technology for visualization in museums, using Notre Dame de Paris, France, as an example. It is more rich in scenes, more interactive graphics, and other visualizations, which enables viewers to enjoy the reconstructed Notre Dame online with the best audio-visual effects. We used the Likert scale research method for a survey. The questionnaire was administered to 15 students and 15 experts for basic information collection and experience feedback. Using data statistics and qualitative analysis, the effectiveness of the guided tours was validated. The result showed that VR museum tours were supported with great potential. Its more interactive guided tour experience enhanced the audience's experience and improved their understanding and interest in history and culture. Virtual reality technology was successfully applied to guide NDDP by providing a richer and more interactive guided experience and promote the cultural heritage and development of the cathedral. The research result provides a reference and inspiration for the future development of guided tours of museums.

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Kluczewska-Wójcik, Agnieszka. „“Inner light” Stained glass in contemporary French sacred art – an overview“. Sacrum et Decorum 15 (2022): 110–40. http://dx.doi.org/10.15584/setde.2022.15.6.

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In the 1920s, a movement of revival of sacred art began in France, which also included stained glass. Its revival was associated with a departure from the illusionistic character of stained glass of the 19 th century and a reference to monumentalism and the spiritual tradition of the Middle Ages. The search for a new concept of stained glass, both in its ideological and technological aspects, resulted in the creation of “artists’ stained glass” (vitraux d’artistes), realised from the middle of the 20 th century on official commissions, thanks to the cooperation of ecclesiastical institutions and state authorities, which acquired a firm legal and financial basis in the 1980s. The stages of this evolution were marked by stained glass ensembles designed by the masters of the post-war avant-garde: G. Rouault and J. Bazaine in Notre Dame de Toute Grâce on the plateau Assy (1937–1946); H. Matisse for Notre Dame du Rosaire in Vence (1940); A. Manessier in Saint Michel in Les Bréseux with the first abstract stained-glass windows (1948); F. Léger, J. Bazaine and J. Le Moal in the interior of Sacré-Coeur in Audincourt, (1949–1951); Le Corbusier in Notre Dame in Ronchamp (1951–1955) and the modern stained glass of J. Villon, R. Bissière and M. Chagall, which was introduced for the first time to a world-class monument of architecture, the Cathedral of Saint-Étienne in Metz (1955). The restoration of the Cathedral of Saint-Cyr et Sainte-Julitte in Nevers provided an opportunity for representatives of the younger generation: R. Ubac, C. Viallat, J.M. Alberola, G. Honegger and F. Rouan (1973–2011), to showcase their vision of stained glass painting. With the exception of Alberola, all were associated with the non-figurative trends that had been developing since the 1950s. The same trend referring to the Cistercian tradition included the outstanding realisations of J.P. Raynaud in Noirlac (1975–1977), P. Soulages in Conques (1986), J. Ricardon in Acey (1991–1994) and A. Nemours, a representative of the Art Concret movement, at Salagon (1998). The return to figuration found a continuation in the projects of G. Garouste for Notre Dame de Talant (1996–1997), C. Benzaken for Saint-Sulpice in Varennes-Jarcy (1991–2007), M. Raysse, associated with the Nouveau Réalisme movement, for Notre-Dame de l’Arche d’Alliance in Paris (1986–1998) and G. Collin-Thiébaut for Saint Gatien in Tours (2010–2013). The creators of vitraux d’artistes accepted the prescribed programmatic framework without giving up their freedom of choice in means of expression and aesthetic conventions. Thanks to the research and creativity of the artists – the introduction of innovative technological processes or a new interpretation of traditional materials and craft methods – but also the courage of the ecclesiastical and, above all, state commissioners, French stained glass has fully integrated itself into the evolution of contemporary visual expression.

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MEWS, CONSTANT J. „Jerome of Moray: a Scottish Dominican and the evolution of Parisian music theory 1220–1280“. Plainsong and Medieval Music 31, Nr. 2 (Oktober 2022): 123–42. http://dx.doi.org/10.1017/s0961137122000092.

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ABSTRACTThis article examines the Tractatus de musica of Jerome of Moray (‘de Moravia’), affirming his Scottish identity, as proposed by Michel Huglo in 1994. It argues that the Tractatus de musica presents an important overview of Parisian music theory in the thirteenth century, relating to both chant and mensurable music in that century, because it combines the views of several generations: the Positio discantus vulgaris, which he says was used ‘among the nations’; the De mensurabili musica of John of Garland, who corrected its deficiencies; and the treatises of Franco of Cologne and Petrus Picardus. It considers Jerome's career in three phases: his exposure to music and music theory in Scotland; his studies in Paris, most likely under John of Garland, perhaps at the cathedral school of Notre-Dame; and his involvement in the liturgical reforms within the Dominican Order, implemented by its Master, Humbert of Romans in 1256. Rather than assigning Franco's Ars cantus mensurabilis to 1280 (as proposed by Wolf Frobenius) and Jerome's Tractatus to sometime after this, I suggest that Jerome was exposed to John of Garland's teaching in the 1240s and that the Franconian system may have started to gain ground in the 1250s. Jerome compiled his Tractatus over a period of time, adding an excerpt about cosmic music from the commentary of Thomas Aquinas on Aristotle's De caelo perhaps as early as 1271 or 1272, in response to the criticisms of John of Garland and his followers being made by Johannes de Grocheio.

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Witcher, T. R. „Still Standing: Cathedral Notre-Dame de Paris“. Civil Engineering Magazine Archive 89, Nr. 6 (Juni 2019): 44–47. http://dx.doi.org/10.1061/ciegag.0001398.

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Artemyeva, Tatyana, und Varvara Gerasenkova. „Notre-Dame de Paris through the centuries“. Innovative Project 9, Nr. 15 (05.06.2024): 6–10. http://dx.doi.org/10.17673/ip.2024.9.15.1.

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The article examines the significance of stylistic changes in the architecture of Notre Dame Cathedral over the course of centuries of history, the events associated with these changes, and their consideration through the prism of modern legislation on the preservation of cultural heritage.

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Heyman, Jacques. „Viewpoint: The fire at Notre-Dame cathedral“. Structural Engineer 97, Nr. 7 (01.07.2019): 35–37. http://dx.doi.org/10.56330/ayjc9569.

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Following the recent fire at Notre-Dame de Paris, Professor Jacques Heyman discusses the construction of the cathedral and considers some of the questions that will arise in agreeing an approach to repair.

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Dissertationen zum Thema "Notre Dame Cathedral, Paris, France"

Tryoen, Lucie. „L'écrit au chapitre de Notre-Dame de Paris au XIIIe siècle“. Thesis, université Paris-Saclay, 2020. http://www.theses.fr/2020UPASV006.

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Le chapitre de Notre-Dame de Paris, malgré sa centralité dans l’espace parisien, est resté absent de la récente relecture historiographique des sources médiévales. Convoquant les méthodes de l’archéologie textuelle et les problématiques de l’histoire des pratiques de l’écrit, cette thèse explore les rapports du chapitre à la documentation qu’il produit et conserve, à l’époque de cette révolution quantitative et qualitative qu’est le XIIIe siècle.Revenant sur l’apparition de la chancellerie capitulaire, elle étudie l’évolution de sa production et de son fonctionnement entre XIIe et XIIIe siècles et analyse les rapports qu’elle entretient avec les nouveaux bureaux d’écriture qui se mettent en place à la cathédrale autour de 1210 : les officialités.L’histoire de l’écrit capitulaire étudiée dans cette thèse est également celle de sa conservation sur le long terme, depuis les coffres et les cartulaires du XIIIe siècle jusqu’à la confiscation des archives au moment de la Révolution française.L’étude des pratiques de l’écrit permet plus largement de réfléchir aux problématiques sociales et politiques d’affirmation institutionnelle et d’appropriation du territoire spécifiques à un long XIIIe siècle
Despite its centrality in the Parisian area, the chapter of Notre-Dame de Paris has remained absent from the recent historiographical focus on medieval sources. Convoking the methods of textual archaeology and the problems of the history of writing practices, this thesis explores the chapter's relationship to the documentation it produces and preserves at the time of the quantitative and qualitative revolution of the 13th century. Revisiting the emergence of the chapter chancery, it studies the evolution of its production and functioning between the 12th and the 13th centuries and it analyses the relationship it has with the new writing offices that are set up in the cathedral around 1210: the officialities.The history of chapter writing studied in this thesis is also that of its long-term preservation, from the chests and cartularies of the 13th century to the confiscation of the archives during the French Revolution.The study of writing practices makes it possible to reflect more broadly on the social and political stakes of institutional affirmation and appropriation of the territory specific to a long 13th century

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Dujon-Attali, Ben Mayer Caroline. „Notre-Dame de Reims, de Laon et de Paris : étude comparée de la restauration de l'architecture et de la statuaire de 1789 à 1914“. Thesis, Reims, 2015. http://www.theses.fr/2015REIML001.

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Dans une démarche scientifique liant la tradition et l'innovation, cette recherche s'inscrit dans la continuité historique, tout d'abord celle de l'histoire culturelle, du patrimoine, initiée par les premiers travaux portant sur les politiques patrimoniales et les administrations responsables: le Conseil supérieur des Beaux-arts et la thèse de Marie-Claude Genet-Delacroix, l'institution des musées et la patrimonialisation étudiées par Dominique Poulot, puis dans la continuité de l'histoire générale de la restauration, avec les travaux de Jean-Michel Léniaud portant sur le service des Edifices diocésains et des cathédrales, et l'ouvrage de Françoise Bercé traitant des Monuments historiques; et l'innovation en abordant dans ces travaux la question de la restauration à l'œuvre dans une étude comparée des trois chantiers des cathédrales gothiques Notre-Dame de Reims, Notre-Dame de Laon et Notre-Dame de Paris de 1789 à 1914. Au carrefour entre de l'histoire religieuse, de l'histoire de l'art et de l'histoire politique, cette thèse porte sur la restauration monumentale en tant que concept politique, administratif, technique et esthétique, appliqué à tous les monuments anciens, dont les cathédrales gothiques : mais du concept à sa réalisation concrète s'interposent nombre d'actions, de professionnels (maîtres d'œuvres et maîtres d'ouvrages) et interviennent nombre d'obstacles et de facteurs qui en diversifient l'application et la mise en œuvre. Cette étude est une analyse comparée des conditions, des programmes, des modalités et des techniques déployés au XIXe siècle dans les chantiers de ces trois cathédrales
The scientific approach conducting the present piece of research combines both tradition and innovation; historical continuity on one hand – first of heritage and cultural history – initiated by the first studies on heritage policies and responsible administrations: the “Conseil supérieur des Beaux-arts” and Marie-Claude Genet-Delacroix's thesis, the early museums and the associated heritage effect studied by Dominique Poulot, then continuity of a general history of restoration and the Jean-Michel Léniaud's papers on the “service des Edifices diocésains” and cathedrals, and Françoise Bercé's book on the “Monuments historiques”; innovation on the other hand by focusing here on the question of restoration at work in a comparative study of three gothic cathedrals work sites – Our Lady of Rheims, Our Lady of Laon and Our Lady of Paris – from 1789 to 1914. Intersecting religious history, art history and political history, this research deals with monumental restoration as a political, administrative, technical and aesthetical concept and its application to every ancient monument including gothic cathedrals: but from a concept to its tangible realisation lie numerous actions and professionals (contractors and owners) as well as numerous hindrances and factors that diversify its application and implementation. This study is a comparative analysis of the conditions, programs, modes and technics employed during the 19th century on the three restoration sites

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Long, Courtney S. „Mariology and monumental sculpture on the west façade of Notre-Dame Cathedral, Paris /“. Connect to online version, 2007. http://ada.mtholyoke.edu/setr/websrc/pdfs/www/2007/223.pdf.

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Sawkins, Annemarie. „Architecture, politics and the rebuilding of the cathedral of Notre-Dame at Senlis, 1504-1560“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0017/NQ44575.pdf.

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Cosgrove, Colleen Anne. „Multi-levelled imagery in the tympanium of the Porte-de-Ste-Anne at Notre-Dame in Paris“. Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25370.

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The tympanum of the Porte-de-Ste-Anne at Notre-Dame, Paris, has aroused the interest of scholars for decades. The lack of inscription or documentation has led to the ascription of various identities to the figures depicted in company with the Theotokos. Apart from assigning it a donative or commemorative function, little light has been shed on the subject by the many extant theories. To further complicate the problem, the physical composition of the portal has only recently been deciphered. It is the consensus of current opinion that the portal, erected from the ground up, was begun as early as 1140-45. Also, the earliest sculptural components, the tympanum, upper lintel, archivolts and jamb-statues are thought to have been created for the refurbishment of the older church prior to the current building, although they may never have been used. This thesis has attempted to demonstrate the tympanum scene actually depicts the equality of regnum and sacerdotium in an accord brought about by a balance of forces, both political and theological, which produced the Ideal State. I have been concerned with an examination of the twelfth century events which could have exerted an influence on the development of the iconographical program. In so doing, I have outlined the pertinent historical background of the building itself, including a description of the portal and its sculptures, as well as a short discussion of the main theories regarding its place within the stylistic orbit of Early Gothic development. I have described the problem of the iconography which, until recently has consisted mainly of efforts to identify the figures of king, cleric and scribe, but of late has dealt with the relationship of regnum and sacerdotium. In this context the work of Adolf Katzenellenbogen on the west front of Chartres has shed light on the portal, and his relating of the tympanum scene to the ideal relationship between the two spheres was further expanded upon by Walter Cahn. He saw in the tympanum a demonstration of the status of the royal and ecclesiastical sectors of the Christian Commonwealth during this period with power vested in the Church. The opinions of Jacques Thirion who proposes very early dates and identities agree with those of Alain Erlande-Brandenberg and Cesare Gnudi who dealt with the portal after the discovery of facade fragments in Paris in 1977. The historical setting dealt with the Capetian rulers in the person of Louis VII, and the papacy in the person of Alexander III, both of whom were in power when the portal was conceived. The pope was a central figure in events that included the first compilation of Canon law by Gratian, a development as central to this thesis as it was to Cahn's. Space has been devoted to a discussion of the Decretum, to its expression of the Ideal State, and to the iconography which arose around illustrated copies of this work, particularly as it relates to the tympanum. Also explained was Gratian's connection to the Reform Party of Haimeric. An examination of some of the symbols chosen by Cahn from the composition to support his theory has determined that they may be reinterpreted. They have been expanded on or refuted in order to illustrate the flexibility of Medieval symbolism, and in order to reveal the many levels of imagery contained in this composition. While so doing, I have I believe, exposed the propagandistic nature of the surface imagery which was deliberately cultivated by the Church with full co-operation from the State in order to expound a politico-theological reality.
Arts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate

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Gross, Guillaume. „Chanter en polyphonie à Notre-Dame de Paris aux 12e et 13e siècles /“. Turnhout : Brepols, 2007. http://catalogue.bnf.fr/ark:/12148/cb41207429g.

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Gross, Guillaume. „L'Organum à Notre-Dame de Paris au XIIIe siècle : étude sur les modes d'élaboration d'un genre musical“. Tours, 2004. http://www.theses.fr/2004TOUR2018.

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L'@organum a été chanté à la Cathédrale Notre-Dame de Paris à la fin du douzième siècle. L'étude montre pourquoi et comment les Tripla et les quadrupla ont été composés dans ce contexte culturel et quelles conditions ont présidé à l'élaboration de ces compositions virtuoses. Dans la seconde moitié du treizième siècle, Jean de Garlande et de l'anonyme IV évoquent des procédés d'ornementation (colores) utilisés dans les grands organa. Les auteurs réemploient le vocabulaire d'une poésie didactique contemporaine des pratiques polyphoniques parisiennes. Les arte poeticae proposent un vaste éventail de techniques ornementales et certaines relatives au phénomène de la répétition, sont utilisées dans l'organum. Ce travail montre comment les clercs utilisèrent ces procédés rhétoriques afin d'élaborer un discours musical complexe et vise à comprendre dans quelles circonstances, comment et à quelles fins, les chantres ont composé de mémoire une très haute manifestation de la parole chantée
By the end of the 12th century, organum was sung at the cathedral of Notre-Dame of Paris. This study discusses the cultural context in which the tripla and quadrupla came to be composed and the conditions which brought into effect the elaboration of such virtuoso compositions. In the second half of the thirteenh century, the music theorists Johannes of Garlandia and Anonymous IV discuss some of the ornamental processes (colores) used in the great organa. These authors employ the vocabulary used for didactic poetry contemporary with the Parisian polyphonic practice. The artes poeticae offer a wide range of ornamental techniques and some them, relating tot the phenomenon of repetition, are used in the organum. This study shows how the clerics used these rhetorical processes to elaborate a complex musical elocution, and aims to comprehend under which circumstances and to what purpose the cantors were able to create by memory such noble manifestations of the sung word

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Bastet, Delphine. „Les Mays de Notre-Dame de Paris (1630-1707) : Peinture, Eglise et monarchie au XVIIe siècle“. Thesis, Aix-Marseille, 2014. http://www.theses.fr/2014AIXM3116.

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Les mays de Notre-Dame, tableaux offerts de 1630 à 1707 par la confrérie Sainte-Anne-Saint-Marcel des orfèvres parisiens à la cathédrale Notre-Dame de Paris en signe de dévotion à la Vierge, forment un des ensembles de peinture religieuse les plus importants du XVIIe siècle. La thèse de doctorat propose une étude de cette série en deux volets, une approche analytique à travers un essai et une approche synthétique à l'aide d'un catalogue. L'essai aborde dans une première partie le contexte confraternel et explique le choix de grands formats présentés dans la nef de la cathédrale. La deuxième partie s'intéresse à la fonction religieuse et politique de ces tableaux. La troisième partie s'attache aux conditions de la commande et aux questions de style et évalue la réception des œuvres au XVIIIe, XIXe et XXe siècles. Le catalogue reprend pour chaque tableau l'ensemble des données documentaires et visuelles. Les textes accompagnant les toiles (contrats, explications, inventaires de Notre-Dame) constituent les annexes. L'importance des mays dans la peinture religieuse du XVIIe siècle tient à leurs résonances avec les préoccupations pastorales et théologales de l'Église de Paris, ainsi qu'à leur statut de modèle pour la peinture religieuse. Exposés au cœur de la cathédrale de Paris, ils constituent un décor sacré au service du roi et de la politique religieuse du royaume
The mays of Notre-Dame, paintings offered from 1630 till 1707 by the brotherhood Sainte-Anne-Saint-Marcel of the Parisian silversmiths to the cathedral Notre-Dame de Paris in sign of worship in the Virgin, are one of main group of paintings of the XVIIth century. The doctoral thesis proposes a study of this series in two steps, an analytical approach through a essay and a synthetic approach by means of a catalog. The essay approaches on a first part the fraternal context and explains the choice of large formats presented in the nave of the cathedral. The second part is interested in the religious function and the politics of these paintings. The third part becomes attached in the conditions of the command and to the questions of style and estimates the reception of the works at the XVIIIth, XIXth and XXth centuries. The catalog resumes for every picture all the documentary and visual data. Texts accompanying paintings (contracts, explanations, inventories of Notre-Dame) establish appendices. The importance of mays in the religious painting of the XVIIth century holds their echos with the pastoral concerns and théologales of the Church of Paris, as well as in their status of model for the religious painting. Exposed at the heart of the cathedral of Paris, they constitute a decoration crowned in the service of king and of religious politics of the kingdom

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Boerner, Bruno. „Par caritas par meritum : Studien zur Theologie des gotischen Weltgerichtportals in Frankreich-am Beispiel des mittleren Westeingangs von Notre-Dame in Paris /“. Fribourg : Universitätsverlag, 1998. http://catalogue.bnf.fr/ark:/12148/cb388500911.

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Lamy, Didier. „« Le principal corps ecclésiastique de la province ». le chapitre de la cathédrale de Notre Dame de Rouen du milieu du XVIIème siècle jusqu’à la Révolution“. Thesis, Paris 4, 2010. http://www.theses.fr/2012PA040238.

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S’intitulant eux-mêmes et avec fierté comme étant le premier corps ecclésiastique de la province de Normandie, le chapitre et les chanoines de la cathédrale de Rouen dominent le paysage clérical local. La thèse a pour objectif de décrire cette institution, son fonctionnement et ses problèmes dans la dernière partie de l’Ancien Régime, du milieu du 17è-me siècle jusqu’à la dissolution en fin 1790.L’étude des membres du chapitre montre une nette évolution dans les modalités d’accès et les carrières entre le début de la période, alors que les prescriptions du concile de Trente peinent encore à rentrer concrètement dans les mœurs et que les chanoines peuvent tenter encore une politique autonome et la fin du 18ème siècle où ils sont définitivement des clercs modèles et au service de l’archevêque. L’étude analyse également la place du chapitre dans la société tant laïque que religieuse locale et les conflits que cela entraîne notamment à l’occasion du privilège exorbitant dit de la Saint Romain. Enfin les moyens financiers tant du chapitre en tant que corps que des chanoines font l’objet d’une étude détaillée
Canons and chapter of the cathedral of Rouen called themselves the first ecclesiastical body of the province of Normandy and in fact dominated the local clerical landscape. The aim of the study is to describe this institution, its life and its difficulties in the last period of time of the Ancien Régime, from the middle of the XVII century up to the dissolution at the end of 1790.The survey of the members of the chapter shows a true evolvement in the conditions of access and in the professional courses between the beginning of the period of the study when the stipulations of the council of Trent were enforced with difficulty and at a time where the canons still had an autonomous policy and later at the end of the XVIII century when they were definitely an exemplary clergy and worked for the archbishop. The study also analyses the position of the chapter in the local clerical and secular communities and the different conflicts, especially the one about the exorbitant prerogative of St Romain. Finally financial means of the chapter and also of the canons are studied with some details

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Bücher zum Thema "Notre Dame Cathedral, Paris, France"

Erlande-Brandenburg, Alain. Notre-Dame de Paris. Paris, France: Nathan, 1991.

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Hugo, Victor. Notre-Dame de Paris. Norwalk, Conn: Easton Press, 1992.

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Hugo, Victor. Notre-Dame de Paris. Norwalk, Conn: Easton Press, 1992.

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Hugo, Victor. Notre-Dame de Paris. Paris: Didier, 1991.

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Hugo, Victor. Notre-Dame de Paris. Paris: Hachette, 1990.

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Hugo, Victor. The hunchback of Notre Dame. Minneapolis, MN: First Avenue Editions, 2014.

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Friedman, Michael Jan. Hunchdog of Notre Dame. New York: Scholastic., 1998.

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Friedman, Michael Jan. Hunchdog of Notre Dame. Milwaukee, WI: Gareth Steven Pub., 1999.

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Hugo, Victor. Notre-Dame de Paris: 1482. [Paris]: Gallimard, 2002.

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Hugo, Victor. Notre-Dame de Paris: 1482. Paris: Presses Pocket, 1989.

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Buchteile zum Thema "Notre Dame Cathedral, Paris, France"

Chovanec, Jan, und Villy Tsakona. „“The girl is on fire!”“. In Pragmatics & Beyond New Series, 87–107. Amsterdam: John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/pbns.335.04cho.

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The article deals with online interactional humour in user comments on YouTube. Drawing on an extensive dataset of verbal reactions to a video discussing the (in)appropriateness of joking about the 2019 burning of the Notre Dame cathedral in Paris, the analysis traces how online commenters recontextualise the disaster and how they jointly produce humorous interaction on a sensitive topic. The analysis focuses on the emergence of joking threads, which consist of jokes shared by the commenters and additional (non-)humorous metapragmatic comments that develop the interaction in various directions. The data reveal that commenters cooperatively engage in a rich range of humour-related practices on a socially sensitive topic, which oscillate between disaster humour and religious humour.

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Chen, Xi. „A study of conservation methodology of architecture heritage—taking Notre Dame Cathedral in Paris as example“. In Advances in Energy Science and Equipment Engineering II, 743–46. Taylor & Francis Group, 6000 Broken Sound Parkway NW, Suite 300, Boca Raton, FL 33487-2742: CRC Press, 2017. http://dx.doi.org/10.1201/9781315116167-143.

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Maira Vidal, R. „Geometry and construction of the severies of the vaults in the Cathedral of Notre Dame de Paris“. In History of Construction Cultures, 341–48. London: CRC Press, 2021. http://dx.doi.org/10.1201/9781003173434-148.

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Kono, Toshiyuki. „Social Aspects of the Cultural Heritage and the Process of Recovery—Notre-Dame de Paris Cathedral and Shuri-jô Castle“. In Post-trauma and the Recovery Governance of Cultural Heritage, 277–81. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-6041-3_13.

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Cochran, Julie Lawrence. „The Gothic Revival in France, 1830–1845: Victor Hugo’s Notre-Dame de Paris, Popular Imagery, and a National Patrimony Discovered“. In Memory & Oblivion, 393–99. Dordrecht: Springer Netherlands, 1999. http://dx.doi.org/10.1007/978-94-011-4006-5_45.

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Thompson, Guy Llewelyn. „The Place Of Paris In A Divided France“. In Paris And Its People Under English Rule, 3–25. Oxford University PressOxford, 1991. http://dx.doi.org/10.1093/oso/9780198221593.003.0001.

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Abstract On I December 1420 King Henry V of England made his formal royal entry into Paris as regent of France and heir to the throne. The French king, Charles VI, was beside him; just behind rode the duke of Burgundy, foremost peer of France. The Parisians lined the streets, glad to welcome their king and his new ally, and the duke whom they regarded as their special leader. Although the chapter of Notre-Dame, irritated by the efforts of Henry and the duke of Burgundy to impose their nominee as bishop, declined to step more than a few yards outside the cathedral, the rest of the population was welcoming, even enthusiastic, decorating the streets and as far as possible dressing in red as a sign of celebration.

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„THE CATHEDRAL OF NOTRE DAME“. In Paris from the Ground Up, 39–68. Harvard University Press, 2010. http://dx.doi.org/10.2307/j.ctv23dx2v1.5.

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„2 The Cathedral of Notre Dame“. In Paris from the Ground Up, 39–68. Harvard University Press, 2010. http://dx.doi.org/10.4159/9780674265998-003.

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Plagnieux, Philippe. „VII - Notre-Dame de Paris“. In Les lieux de l'histoire de France, 91–102. Perrin, 2017. http://dx.doi.org/10.3917/perri.wievi.2017.02.0091.

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Gauvard, Claude. „Notre-Dame de Paris : unanimité et crispations médiévales“. In La France en récits, 32–43. Presses Universitaires de France, 2020. http://dx.doi.org/10.3917/puf.zarka.2020.01.0032.

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Konferenzberichte zum Thema "Notre Dame Cathedral, Paris, France"

Zammit, Sarah-Jane. „Notre-Dame as the Memory of Paris: Hugo, the Historical Novel and Conservation“. In The 39th Annual Conference of the Society of Architectural Historians Australia and New Zealand. PLACE NAME: SAHANZ, 2023. http://dx.doi.org/10.55939/a5050pxtvl.

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Controversies surrounding the restoration and representation of the narrative and memory of Notre-Dame de Paris are not new. The latest debates remind us that the building has been at the centre of conservation controversies since the nineteenth century. But why is Notre-Dame de Paris central to these debates? The answer appears to lie in its function as a mnemonic device for Paris and the French nation. This paper focuses on the four literary pieces published by Victor Hugo in the period between 1823 and 1832 – ‘Le Bande Noir’ (‘The Black Band’), ‘Note sur la Destruction des Monuments en France’ (‘Note on the Destruction of Monuments in France’), ‘Guerre aux Démolisseurs!’ (‘War on the Demolishers!’) and Notre-Dame de Paris (also known as The Hunchback of Notre-Dame). Through an analysis of these four texts, the paper will attempt to understand Hugo’s convictions about the role of buildings – especially Notre-Dame de Paris – in establishing the memory of the city and the nation, and how these in turn underpinned his arguments for conservation. Whilst these texts were all written in a period before the development of key contemporary concepts in the psychology and neuroscience of memory, this paper nevertheless uses the concepts of memory, imagination and Mental Time Travel to try to understand the kind of memory work that the Cathedral performs, and that Hugo suggests it performs in his writing. By examining how Hugo’s literature augmented and engaged the reader’s memory and imagination of the past, this paper will explain how Hugo romanticised the idea that the building was a witness to history. The paper ultimately argues that Hugo positioned Notre-Dame de Paris not only as the centrepiece in his own fiction, but as a beacon of memory for Paris and France, and as such the building came to represent Paris, and indeed the nation as a whole.

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Le Corvec, Véronique, Patrick Lézin und François-Baptiste Cartiaux. „Static and Dynamic Monitoring of the Notre Dame de Paris Cathedral“. In 5th Joint International Symposium on Deformation Monitoring. Valencia: Editorial de la Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/jisdm2022.2022.13866.

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During the fire which took place on 15th April 2019, the Cathedral of Notre Dame de Paris underwent extensive structural damages: most of the roof was destroyed, part of the stone vaulted ceiling collapsed, and the wooden framework of the north tower was partially burned. After the fire, a list of actions was carried on in order to secure the remaining structure, prevent any further damage and start the rehabilitation. Very early on, a monitoring system was used to assist the project manager in these tasks. With the progress of site works, the monitoring system was updated to provide more insightful information. The present paper focuses on the monitoring system deployed on the towers and the stone vaulted ceiling with the objective to produce a first assessment of the current state and follow the evolution during the reconstruction phase. The monitoring campaign was carried out from December 2020 to December 2021 with two distinct sets of sensors. The first objective was to characterize the current state and identify the dynamic behavior of the structure, for that purpose 48 directional accelerometers were installed on the two towers and the two vaults lane. Acceleration measurements and analytical methods lead to the identification of the fundamental modes of these structural elements. In a second time, to follow the evolution of the vaults, 56 inclinometers were positioned on the outer side of the vaults, constituting 15 inclinometer measuring chains. Set up to transmit data continuously with a 10 min frequency, measurements allow to notify settlements or uprisings and correlate these evolutions with external factors (weather conditions or rehabilitation works).

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Hulin, Guillaume, Christophe Besnier, Dorothée Chaoui-Derieux, Sébastien Flageul, Christophe Norgeot, Cyril Schamper, François-Xavier Simon und Alain Tabbagh. „A geophysical survey in Notre-Dame de Paris cathedral: Revealing the buried past after the disaster“. In 19th International Conference on Ground Penetrating Radar, Golden, Colorado, 12–17 June 2022. Society of Exploration Geophysicists, 2022. http://dx.doi.org/10.1190/gpr2022-062.1.

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Doroz-Turek, M., und M. Barański. „After a Great Fire. The Problem of Roof Recovery in Historic Buildings“. In IABSE Symposium, Wroclaw 2020: Synergy of Culture and Civil Engineering – History and Challenges. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2020. http://dx.doi.org/10.2749/wroclaw.2020.0544.

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<p>The great fire of the Notre Dame Cathedral in Paris pointed public interest to the conservation issues. General expectation is to reconstruct the roof as wooden structure. Final decision will be undertaken by French architectural conservation experts, who analyses a state of preservation of affected by fire the upper parts of the building. Great fires and wars caused numerous destruction of these important historic monuments. Since the XIX century we have plenty roof reconstruction completed as an iron, a steel, or a reinforced concrete structures. Modern concept of historic conservation requires an authenticity of the heritage. New roof structures to some extend creates.</p>

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