Dissertationen zum Thema „Notre Dame Cathedral, Paris, France“
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Tryoen, Lucie. „L'écrit au chapitre de Notre-Dame de Paris au XIIIe siècle“. Thesis, université Paris-Saclay, 2020. http://www.theses.fr/2020UPASV006.
Der volle Inhalt der QuelleDespite 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
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.
Der volle Inhalt der QuelleThe 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
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.
Der volle Inhalt der QuelleSawkins, 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.
Der volle Inhalt der QuelleCosgrove, 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.
Der volle Inhalt der QuelleArts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate
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.
Der volle Inhalt der QuelleGross, 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.
Der volle Inhalt der QuelleBy 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
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.
Der volle Inhalt der QuelleThe 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
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.
Der volle Inhalt der QuelleLamy, 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.
Der volle Inhalt der QuelleCanons 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
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“. Electronic Thesis or Diss., Paris 4, 2010. http://www.theses.fr/2010PA040238.
Der volle Inhalt der QuelleCanons 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
Nováková, Eva. „Katedrála v současnosti“. Master's thesis, Vysoké učení technické v Brně. Fakulta stavební, 2020. http://www.nusl.cz/ntk/nusl-414275.
Der volle Inhalt der QuelleKrál, David. „Katedrála v současnosti“. Master's thesis, Vysoké učení technické v Brně. Fakulta stavební, 2020. http://www.nusl.cz/ntk/nusl-414262.
Der volle Inhalt der QuelleImbert, Stulc Anna. „Provenances géographiques des bois de la cathédrale de Notre-Dame de Paris. Compositions élémentaires et isotopiques en Sr et Nd : effet de la carbonisation, référentiels régionaux et applications“. Electronic Thesis or Diss., Sorbonne université, 2023. https://accesdistant.sorbonne-universite.fr/login?url=https://theses-intra.sorbonne-universite.fr/2023SORUS594.pdf.
Der volle Inhalt der QuelleThe wooden framework of the Notre-Dame de Paris Cathedral was almost destroyed by fire on April 15, 2019. Although the remains of the charred timbers are not of interest for the reconstruction, they conceal more than 800 years of the monument’s history. Their investigation thus constitutes an extraordinary opportunity to shed light on the construction techniques and relationships between society and forest resources during the Central Middle Ages (11th-13th centuries). A key point to better understand past forestry management and timber trade is the provenance of the timber woods. The aim of this work is to determine the geographical origin of the wood used to build the Notre-Dame's framework with the help of geochemical tracers, in particular the multi-elemental composition and isotope ratios of strontium (Sr) and neodymium (Nd). The strength of geochemical source tracing relies on the ability to discriminate sites based on their geological and soil contexts. During growth, trees absorb mineral-derived nutrients which are partially transferred to the wood cell walls. The abundance and isotopic signature of these mineral-derived nutrients in wood thus reflect those of rocks and soils on which the tree grew. This approach is applied here for the first time to carbonized archeological wood. Before proceeding to identification of the origin of the Notre-Dame timber woods, 1) the preservation of geochemical signals during carbonization was verified experimentally, and 2) a referential database of multi-elemental and Sr-Nd isotopic signatures in modern wood was built at the scale of the Seine River catchment. Although the carbonization led to volatilization and loss of some of the studied elements, it did not affect Sr and Nd isotopic composition of charred wood. Additionally, reliable elemental tracers for provenance were selected on the basis of the ratios of thermostable elements i.e., those whose decrease in concentration was negligible (< 20% at 800°C). The geochemical tracers were tested on modern wood from the 12 referential forests, each representing one type of substrate characteristic of the Seine River catchment area. Determination of the origin of modern wood could be achieved with an accuracy of around 80% and was strongly controlled by the 87Sr/86Sr isotope ratio, as well as by the Sr/Ca and Nd/Ca elemental ratios. The carbonized timbers from the Notre-Dame framework were characterized for cutting dates of trees and their geochemical signatures were compared with one another, and with those of wood from the referential forests. The geochemical signatures of most of the medieval woods were found to be characteristic of forest stands growing on deep silty soils, in agreement with findings from historical archives pointing towards an origin of the timbers in the south-east of Paris
Rampáčková, Monika. „Katedrála v současnosti“. Master's thesis, Vysoké učení technické v Brně. Fakulta stavební, 2020. http://www.nusl.cz/ntk/nusl-414281.
Der volle Inhalt der QuelleDennery, Vaisman Anna. „La musique liturgique en l'abbaye de Saint Evroult d'après le Tropaire-prosaire ms. Paris, B. N. Lat. 10508“. Paris 4, 1987. http://www.theses.fr/1987PA040201.
Der volle Inhalt der QuelleThe manuscript listed as lat. 10508 in the Paris Bibliotheque Nationale, is made up of two different works bound together in one volume : 1) a cantatorium troper-proser, written for the use of saint Évroult abbey, in Normandy, dating from the early twelfth century, and 2) a musical treatise, from the same abbey, but very probably written at one of the foundations of saint Évroult in Italy, at about the same time. The historical and codicological survey of the manuscript is followed by an introduction to the proper of saint Évroult, which attests the presence of a few ancient liturgical forms that are gradually dying out. It enables us to observe uses peculiar to Normandy, particularly, concerning the introits. The following section is devoted to the genesis, development, and appearance in Normandy, and especially in abbey, of the tropes of ordinary and of sequentias. Analysis of their prosody shows that the Kírie eléison are not the result of laying a text under already existing melismas, as in the case with the sequentias. Rather they are a form of chant in which text and music were composed at the same time. The troper-sequentiary, of undoubted Norman origin, nevertheless contains chants from various other sources, for the works of the composers and poets of the North West make up only about one - third of saint Évroult repertory. The musical notations used in the manuscript run the gamut from neumes in campo aperto to guidonian notation, from alphabetical notation to the dasian. Additions show the evolution of notation on stave. A report on the interpretation, meaning, and liturgical use of the tropes and sequentias brings the survey to a close. It might just as well have been entitled: "musical and liturgical life at the saint Évroult abbey"
Nougayrede, Paul. „Analyse et conception des structures clavées : approches théoriques et investigations numériques“. Electronic Thesis or Diss., Paris Est, 2023. http://www.theses.fr/2023PESC2018.
Der volle Inhalt der QuelleThe current context urges the various players in the field of architecture and construction to increasingly question architectural design methods and production technologies, regarding issues linked to climate change and the scarcity of resources. That's why for a few decades there has been a renewed interest for using stone material, for several reasons (mechanical qualities, important durability, potential local resource...) and in particular for stereotomic masonry structures made up of stone voussoirs, cut and fitted. The fascinating properties of these different types of structures (arches, vaults, domes, jack arch, etc.) are still the subject of a great research diversity today which implements different approaches in order to model their stability, depending on the different cases. The advanced modeling of these monuments then makes it possible to fuel in-depth reflection on the design of new typologies of stone structures (mixed structures, reciprocal structures, collages, optimization of shape, use of material) and not only on the mechanical diagnosis of the existing. Two types of block-to-block modeling are thus implemented in this work. The Finite Element Method (FEM) makes it possible to simulate the deformations and stresses into blocks and mortar joints, via mathematical routines firmly anchored in structural research since the very first computers. Advanced modeling by the FEM is carried out as part of the scientific project to evaluate the stability of the vaults of Notre Dame de Paris cathedral, following the 2019 fire. The use of Limit Analysis modeling (LA) makes it possible to circumvent the difficulties in FEM: greedy calculation resources, complex implementation and processing results. LA is used, on the contrary, to determine relatively easily and quickly a stability domain based solely on the assumptions of (i) the geometry of the blocks, considered as infinitely rigid, (ii) the failure criteria at the joint interfaces and (iii) ) the external loads. The application of this method has found echo in a long tradition of heritage masonry structures studies which have thus been able to demonstrate its effectiveness, despite a compromise on the nature and precision of the answers, relative to other non-linear methods such as FEM.The AL approach is therefore implemented in the most general possible way by relying on advanced mathematical resolution tools (conic programming), with the aim of making its use accessible to as many users as possible (architects, historians, stone cutters, engineers…). Several concrete case studies using the FEM approach and the AL approach in parallel show the advantages and limitations of the latter depending on the applications
Spinelli-Flesch, Marie. „Pensée et construction lors de la naissance du gothique“. Besançon, 1990. http://www.theses.fr/1990BESA1018.
Der volle Inhalt der QuelleThe great edifices analysis during the twelth century and texts going with permit to precise thought-construction relations. The devoutness to God and the saints founds all constructions and provides their financements. The importance of the relics at Saint-denis makes Suger do a spectacular presentation. In the plan, is the augustinian idea of beautiful witch modify the new needs (liturgy, increasing of the faithfuls). Religious feeling modified by the new christology contributed to the changes of the gothic art. The comparison of Suger's thought and the pseudo-Denys shows fondamental differences between them and deny the influence on the first gothic of the corpus dionysiacum. In geometry, the know of the "litterati" doesn't present any experimental interest but a classificatory one. The builders' experiments are only occasionaly helped by the know of the scolars. The technical progress and the gothic forms are mostly the fact of the masons hardly supported by the sleeping-partners' will
Frizet, Yannick. „Munificence et stratégie de Louis XI dans l'aire Provençale (1440-1483)“. Thesis, Aix-Marseille 1, 2011. http://www.theses.fr/2011AIX10079.
Der volle Inhalt der QuelleOn december 11th 1481, the king of France Louis XI achieved the incorporation of sovereign Provence into the kingdom of France. This did not happen without the greatest provençal sanctuaries receiving from him important offerings like the Sainte-Baume chapel, the Sainte-Marthe of Tarascon gold head reliquary, and the last earl Charles III of Provence tomb in the Saint-Sauveur cathedral of Aix. Actually, his four decades religious munificence in Provence spread out with various forms (foundations, annuities, privileges). This original study is an attempt to synchronize an ambitious policy of munificence with its context of an annexation in progress. For a general sight of the situation, the geographical area of the study is extended to the small provençal states surrounding the earldom of Provence, it is to say Avignon and the Comtat Venaissin, the principality of Orange, the earldom of Nice, the lordship of Monaco and the southern Dauphiné. There, in the Notre-Dame cathedral of Embrun, in close contact with the provençal earldom of Gap, Louis XI appears as the donator of the flamboyant organ, still visible in parts. The physical presence of the dauphin Louis, then the strong political presence of king Louis XI, in this “provençal area” reveal the great interest of French kingdom for the south, following an ancient tradition started by the capetian kings. The details and the growth of Louis XI’s covetousness, its economical and social implications, its artistic demonstrations, the medium of the monarchic ideology, as the flamboyant gothic esthetics, but the unavoidable rivalry with the influential earl René d’Anjou as well, are the main issues investigated here
Le, Men Ségolène. „L'Illustration en France au dix-neuvième siècle : la cathédrale illustrée“. Paris 7, 1994. http://www.theses.fr/1994PA070158.
Der volle Inhalt der QuelleThis research about nineteenth century French illustration (2 books and 65 articles or catalogues) deals mainly with the synchronical system of French romantic illustration and with the diachronical genre of children's book illustration : the case-studies consider abcs, caricature, romantic books and sets of prints, children's picture books, posters and art criticism about prints. . . The art of illustration is presented as a new visual language, based upon the circulation of vignettes and upon conventional categories of images : types, sites and scenes. This romantic visual imagery, which appeared in book illustrations and journal caricatures or cartoons, survived at the end of the century within the art of the poster and other massmedia pictures, packaged in standardized visual formulas. However this turn of the century evolution of commercial imagery appears similarly within high art and thus is linked to the advent of modern art. At the time when romantic illustrated books started to become a market collected by connoisseurs, Manet and Seurat painted social types, sketched as they had appeared in les français peints par eux-mêmes. Thus romantic illustration played the role of an experimental language for nineteenth century artists. This thesis leads us to reconsider the distinction between high and low art in the advent of modernism : the unpublished essay, la cathedrale illustree, addresses the link between abstraction and picturesque romanticism and studies the symbolic site of the cathedral, from Hugo's Notre-Dame de Paris to Monet's series of Rouen cathedrals. My art historical research runs between the history of art and literature and the history of the book, and thus belongs to cultural studies : focusing over the circulation and transmission of images, it covers also the sociology of artistic professions, and the new business of illustrations and posters
Gastinne-Biclet, Armelle. „Image et parole : le vitrail de Saint Lubin à Chartres : sens et fonction de ses images à la fin du XIIe siècle“. Thesis, Bourgogne Franche-Comté, 2019. http://www.theses.fr/2019UBFCH040.
Der volle Inhalt der QuelleThe enigma of saint Lubin stained glass window at Chartres, showing a wine story in the middle of the saint’s life, can be resolved by a symbolic interpretation of it’s images, if paying regard to the medieval mental schemes : the central Eucharistic mystery of the wine enables the young Lubin to achieve sainthood, through his own vocation of consecrated (the learned canon of XIIth century appearing under the VIth century monk), priest and bishop, Good Sheperd dispensing divine gifts. The unusual presence of small human figures at the outer framework of the stained glass window emphasises the important role to be played by the laity in the Eucharistic mysteries. It takes part, with the introductive images, to a preached exhortation of the window, inviting all spectators to be converted. It’s theological teaching imports as it’s means of expression the images of the Scriptures, as interpretated by glossa ordinaria, updated, and organised into a Theological Sum chapter, remaining faithfull to the Fathers’ teaching about figura and veritas, the relationship figura-veritas of the wine of the Last Supper and the blood of Christ being of the same ‘type’ as between the Old and the New Testaments, or between the Life of earthly Church and Eschatology, using the constructive resources of Logic, without submitting to its mystery devastating hegemony. Far from being an advertisement for the relic of the saint, for the bishop or the canons, the stained-glass window thus takes place in the contemporaneous stream of the Parisian ‘Biblico-moral School’, who shared with Saint-Victor, in particular with Richard, the project to lay foundations for a moral reformation of Clergy and Laity on the study, -as well historical as symbolic-, of the Bible, and on preaching
Cook, Lindsay Shepherd. „Architectural Citation of Notre-Dame of Paris in the Land of the Paris Cathedral Chapter“. Thesis, 2018. https://doi.org/10.7916/D84T81S9.
Der volle Inhalt der QuelleLeblanc, Marie Chantal. „Formation artistique et contexte social des peintres canadiens à Paris (1887-1895)“. Mémoire, 2008. http://www.archipel.uqam.ca/1280/1/M10507.pdf.
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