Auswahl der wissenschaftlichen Literatur zum Thema „Patrimoine culturel – Hauts-de-France (France) – 20e siècle“
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Zeitschriftenartikel zum Thema "Patrimoine culturel – Hauts-de-France (France) – 20e siècle"
Ibáñez Beltrán, Luis Manuel. „Las devociones que porfían: la estabilildad en las advocaciones parroquiales de la Tierra de Lemos (Lugo) en la Edad Media“. Vínculos de Historia Revista del Departamento de Historia de la Universidad de Castilla-La Mancha, Nr. 12 (28.06.2023): 238–60. http://dx.doi.org/10.18239/vdh_2023.12.12.
Der volle Inhalt der QuelleTrapero Fernández, Pedro, Francisco Javier Catalán González und Enrique José Ruiz Pilares. „El río Guadalete en el tránsito de la Edad Media a la Edad Moderna. Una propuesta de restitución de su cauce y los condicionantes de navegabilidad a partir de los SIG“. Vínculos de Historia Revista del Departamento de Historia de la Universidad de Castilla-La Mancha, Nr. 12 (28.06.2023): 261–84. http://dx.doi.org/10.18239//vdh_2023.12.13.
Der volle Inhalt der QuelleDissertationen zum Thema "Patrimoine culturel – Hauts-de-France (France) – 20e siècle"
Greuet, Mathilde. „Les ruines de guerre dans les Hauts-de-France, 1921 - 2023“. Electronic Thesis or Diss., Université de Lille (2022-....), 2024. http://www.theses.fr/2024ULILH002.
Der volle Inhalt der QuelleThe thesis is focused on two historiographical fields: on the first hand, the historiography of the war and the post-war period, and on the other hand, Cultural Heritage studies. For this research, we intend to follow the fate of several war ruins in the Hauts-de-France area in order to study representative cases of the different political and social uses that are made of war ruins from the destruction of buildings to nowadays. In the 20th century, a renewal took place in the desire to preserve war ruins. During the First World War, debates appeared in France concerning the conservation of certain ruins and the modalities of reconstruction in general. Despite the importance of war ruins and debates about them at the time, few buildings are preserved as “Remains and Memories of War” after the war. During the reconstruction, pilgrims and tourists who came to discover the ancient battlefields and to meditate there were interested in the ruins. Despite this, the list of ruins and war vestiges which were supposed to be preserved was gradually reduced to facilitate reconstruction.At the end of the Second World War, the Ministry of Reconstruction and Urban Planning (MRU) was responsible for the reconstruction of the country. Despite everything, a certain number of war ruins remained in the landscape and experienced variable fates. Some were leveled off or buried under new buildings during the reconstruction or town planning operations of the 1960s and 1970s. Other destructions were abandoned and were naturally covered with vegetation. In most cases, we witness the gradual disappearance of the remains due to abandonment and time. Despite everything, war ruins remain visible in our current landscapes in Hauts-de-France. This raises the question of the evolution of the management and recognition of war ruins during the 20th and 21st centuries, but also the question of the challenge of conserving these ruins in the territories. To understand the different dynamics put in place, we propose to study representative cases of the management of war ruins over the last century: The Weppes bunkers, the "Red château" of Villers-Bretonneux, the ruins of Chemin des Dames and those of the Somme, the case of the war memorials to the deads including Noyon's one, the ruins of Amiens, the abbey of Vauclair, the bunker of Éperlecques and finally the Crèche's coastal battery. These examples allow us to show different types of support, as well as the debates and preservation choices to which they lead and the developments in recognition over the long term
Lefort, Nicolas. „Patrimoine régional, administration nationale : la conservation des monuments historiques en Alsace de 1914 à 1964“. Phd thesis, Université de Strasbourg, 2013. http://tel.archives-ouvertes.fr/tel-01037903.
Der volle Inhalt der QuelleAboulker, Delphine. „La construction de la valeur des maisons d'architectes du XXe siècle : de la patrimonialisation à l'émergence d'un marché“. Paris, EHESS, 2007. http://www.theses.fr/2007EHES0060.
Der volle Inhalt der QuelleSince the end of the 1990s, an international market of 20th century domestic architectural masterpieces has emerged in which they are appreciated no longer as just homes but as works of art. While focusing on France, an early leader in the recognition and preservation of cultural heritage sites, this thesis also consists of a comparative study of Great Britain and the United States. It offers an updated look at the social processes of building the esthetic and economic value of these designer homes: cultural heritage, classification, esthetic réévaluation, acceptance as 'collectors' items, as well as the way the market operates. This study shows that value assessment takes place at the intersection of two systems of actors: those involved with cultural heritage preservation (government, communities and associations) and marketplace actors (owners and realtors). As for the architects, they operate transversally between these two worlds
Schenberg, Virginie. „La filière sardinière en Vendée de 1880 à 2018 : Entre maintien de la tradition et nécessité d’industrialisation“. Thesis, La Rochelle, 2021. http://www.theses.fr/2021LAROS016.
Der volle Inhalt der QuelleThe Vendée experienced a boom in the sardine industry as early as the late 19th century due to the invention of canning. The advent of canning led Nantes industrialists to open canneries in the four main Vendée harbours. Alongside this economic development, social movements appeared, as fishermen and cannery workers, initially opposed industrialization. Fishermen and canners were regularly confronted with two restrictive factors : the contingency of the presence of sardines, as well as the conflicts which froze the sector. The emergence of foreign competition woke up the spirits which were mired in internal conflicts. However, faced with a lack of responsiveness and overconfidence in French expertise which manufacturers charged dearly, Spanish and Moroccan sardines invaded the market. Canneries had to close down one after the other, and seafarers turned to other fisheries.Only one sardine cannery survived the sardine crisis in Vendée. It is located in Saint-Gilles-Croix-de-Vie, which has become the Vendée capital of sardines thanks to the first wild fish to obtain a red label in 2000. Based on traditional catching techniques, sardine fishing in Saint-Gilles-Croix-de-Vie has been listed in the inventory of intangible cultural heritage in France since 2018. Through the historical study of the choices which have guided the fishermen, the fishmongers, the canners and factory workers, we will shed light on the interactions of the various participants who have made the Vendée sardine industry what it is today
Trifescu, Valentin. „Le régionalisme dans l'historiographie de l'art : valorisation du patrimoine artistique de l'Alsace et de la Transylvanie dans la 1ère moitié du XXe s“. Strasbourg, 2013. http://www.theses.fr/2013STRAG041.
Der volle Inhalt der QuellePoirrier, Philippe. „Municipalité et culture au XXe siècle : des beaux-arts à la politique culturelle : l'intervention de la municipalité de Dijon dans les domaines artistiques et culturels (1919-1995)“. Dijon, 1996. https://nuxeo.u-bourgogne.fr/nuxeo/site/esupversions/9aa25ffb-219a-4c8b-b817-8ee9f910ed9f.
Der volle Inhalt der QuelleA survey of nearly a century of municipal involvement in the artistic and cultural domains reveals both periods of change and continuity. The chronological development of the cultural policies adopted by Dijon can be considered as representative of what happened in the other regional capitals of France. Following on traditions originating in the nineteenth century, the influence of the municipal authority is already perceptible in the early part of the twentieth century, but it was only in the 1960s that a "cultural policy" properly so called began to be formalised. The 1970s, and still more the 1980s, were marked by major qualitative and quantitative developments in the cultural policy. Although remaining a priority throughout the six years following the 1985 election, cultural policy was neglected when the next administration made social problems their main preoccupation. Dijon offers some distinctive features however. For example, the importance of the association bourguignonne culturelle which, for almost thirty years, played a monopolistic role while remaining relatively independent from municipal control
Verger, Annie. „Conditions sociales de production des producteurs d'art : les plasticiens“. Paris 8, 1993. http://www.theses.fr/1993PA080752.
Der volle Inhalt der QuelleTaking as a subject the "art producers" rather than the "artists" precisely consists in being interested in the group who actively took part in the redefinition of its identity. The invention of the "plasticien", as a matter of fact, threw a confusion in the usual criteria of adherence to the artist painters, sculptors and engravers'categories, but allowed the heterodox creators to be acknoledged. The purpose was to study the field of artistic production, which appears as a structured space of positions, by defining the stakes and the specific interests, irreducible to these of the other fields. They reveal a state of relation of forces between the "plasticiens", who claimed their autonomy and the establishment, engaged in the struggle for the monopoly of the specific authority. Studying the art producers'social conditions of production comes to determine the chances of access to a powering position in this field. In opposition to that it is usually thought, they go first through school. The illusion that whished for art to contribute struggling against school selection vanishes compared to figures. The domination of upper classes in specialized formations shows that an eliminating work has been exerted, upstream, on workmen, farmers and employees'sons. Neverthless, the degrees obtained in art schools are not sufficient. The "candidate artists" who want to appear on the art market must take up new strategies to be admitted by the specialists. By induction of these facts, il was necessary to mark the criteria of existence as members of the field. The subject of this research was not the "plasticiens" in their totality but the group of art producers who compete for the establishing reputation awarded by a whole of institutions, themselves in competition
Figini-Véron, Véronique. „L'Etat et le patrimoine photographique : des collectes aléatoires aux politiques spécifiques, les enrichissements des collections publiques et leur rôle dans la valorisation du statut de la photographie : France, seconde moitié du XXe siècle“. Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010733.
Der volle Inhalt der QuellePhotography in France, after a long period of silent accumulation in public cultural institutions, became the object of specific collecting in the second half of the twentieth century. This had a bearing on its status. From the late 1930s onwards, curators in the print cabinet of the Bibliothèque Nationale in a process of re-evaluation at last came to consider the photograph as an object for collection. They set out therefore on a daring collection program with a double focus: documentation and artistic quality. With this the BN declared its ambition to become the leading museum of photography in France. Alongside documentary photographs, which remain a priority, conservatorial interest centered on both large groups of 19th century photographs intended to inaugurate a history of photography modeled on art history, and on contemporary creators. This was a pioneering, and durable approach, but insufficient for a recognition of photography as a national art. Some forty years later, in 1976, the secretariat of Cultural Affairs took over questions concerning photography. But the four ministerial branches concerned by photography reacted in an unequal manner. In a photographic environment evolving towards a cultural orientation, national collections were initiated at the Fondation National de la Photographie, Lyon (FNP), in the Musée National de I' Art Contemporain (MNAM), at the Fonds National d'Art Contemporain (FNAC) and at the Musée d'Orsay. At last photography was recognized as an art. During the 1980s, thanks to the combined effect of the City of Paris, 'Month of the photo', and the favorable policy towards contemporary art of Jack Lang's ministry, one of the major artistic events of the late 20th century took place: photography entered the realm of the plastic arts
Masson, Geraldine. „Préserver et transmettre les collections de la nation : les conservateurs des musées de province sous la IIIe République“. Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01H033.
Der volle Inhalt der QuelleThe Third Republic enabled French museums to become a place of cultural education similar to that of schools. A national, federated network of museums was established for national collections of art in the early 20th Century, during the rise of provincial museums. The French state sought to display a self-legitimizing, civic-mindedness and to teach lessons of history of the Nation and national heritage to its citizens. More than an institutional history of the rise of provincial museums, this study demonstrates the involvement of the curators of provincial museums in the development of that policy and shows how it led to the creation of an organized profession. Utilizing the report of the parliamentary commission for French museums created in 1905, 263 curators in charge of state sponsored long-term loans were identified and studied. Involved in the safeguarding of patrimony, they belonged to numerous provincial academies and local scholarly societies. At the museum, they provided a local history lesson related to French national history. They had to cope with locally specific issues, particularly financial restrictions and local politics, but succeeded in fashioning a new way of working that was agreed to by ail colleagues in provincial institutions as well as French national museums, such as the musée du Louvre, when museology was created
Bücher zum Thema "Patrimoine culturel – Hauts-de-France (France) – 20e siècle"
Fourestié, Anne. Photographier le patrimoine aux 19e et 20e siècles: Histoire de la collection photographique de la Médiathèque de l'architecture et du patrimoine (1839-1989). Paris: Hermann, 2017.
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