Dissertations / Theses on the topic '(1807: Paris, France)'
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Bouillo, Eva-Frédérique. "Le salon de 1827." Paris 10, 2004. http://www.theses.fr/2004PA100106.
Full textThe 1827 Salon marked a decisive turning in the " bataille romantique " as the conflict which had opposed the " old school " painters and the " new school " ones progressively faded away after the exhibition. The present study has emphasized the particularity of the 1827 Salon as regards to the officiaIs' actions and the critics' statements which helped rornanticism develop despite a lot of remaining opposition. In my work, l assessed the importance of the " new school " in the Salon, analysed the way it developped there and its progress since 1824 and l offered a definition of what rornanticism was in 1827. L fust studied the Salon at the institutional level, enhancing the tolerance of the public institutions and Forbin's role in giving reco~tion to the new trend. L also showed the place the romantics took in the public sponsorship, thus confIrIning how well disposed the officiaIs were towards them. L finally insisted on the way the Salon was spoken of by the critics, proving that the " bataille romantique " was at the very heart of a debate in which defining " Rornanticism " and " Romantics " was uneasy -given the importance and complexity of the movement since 1824
Gaillard, Jeanne Bourillon Florence Pinol Jean-Luc. "Paris, la ville : 1852-1870 /." Paris : l'Harmattan, 1997. http://catalogue.bnf.fr/ark:/12148/cb406262614.
Full textNakajima, Toshikatsu. "Industrie mécanique à Paris, 1847-1914." Paris 4, 1985. http://www.theses.fr/1985PA040139.
Full textKeobandith, Pick. "La sculpture moderne à Paris, 1900-1914." Rennes 2, 2001. http://www.theses.fr/2001REN20049.
Full textDedicated to a study of modern sculpture in Paris 1900-1914, this Ph. D dissertation starts with a description of Parisian art world at the turn of the century : districts of Montmartre and Montparnasse, academies and independant school, museums, art dealers, collectors, art critics and art galleries. In this unique place in the world, emerging artists, some of them coming from abroad (Archipenko, Boccioni, Brancusi, Csaky, Epstein, Lehmbruck, Lipchitz, Nadelman, Zadkine), try to invent new sculpture in freeding themself from Rodin, the inevitable reference. Some of them (Bernard, Clara, Casanova, Manolo, Nadelman) take the route "modernity tinted with classicism" inspired by antique art. Maillol is one of the initiators. Others (Archipenko, Duchamp-Villon, Gaudier-Brzeska, Epstein, Matisse, Modigliani, Picasso) follow more radical way which lead them towards cubist and primitivist sculpture. All these artists contribute to drive sculpture into modernity. Less known as cubism and abstract revolution in painting, this transformation in sculpture is though a major event in art
Rothenbûhler, Anne. "Les suissesses à Paris : itinéraires migratoires et professionnels, 1880-1914." Paris 10, 2013. http://www.theses.fr/2013PA100190.
Full textThe study of the immigration of Swiss women in Paris is situated at the junction of several fields of historiography : history of immigration, women's history, history of work, history of cities and the history of Switzerland. Original sources have made it possible to bring to light the destinies of women whose stories, on account of their being migrants and servants, had been pushed into the sidelines of History. Among the 600. 000 Swiss people who chose to leave their native country during the 19th century, many went to France, including thousands of women. The phenomenon of "women mobility" is to be considered in a European context : women, unlike what prejudiced minds may think, travelled a great deal on the continent. However, the 19th century model for Swiss women was a very conservative one. In fact, Swiss women mainly had two options : being a domestic or being a mother. Young women had access to different types of trainings, but all of them centered on sewing and maternal and household cares. Nevertheless, some women refused to conform to this model and, depending on the opportunities they found, some of them went to Paris to become domestics. Through this analysis, an opportunity is given to propose a study of foreigners who settled in Paris, but the latter is based on gender, which occasions a new look on the subject of immigration in the French capital. The Swiss community distinguished itself from the others by its structure, which perfectly mirrored the hierarchies which prevailed in Switzerland. It was also noticeable through the fact that the elites, on both sides of the frontier, paid a lot of attention to the reputation of the whole colony. Indeed, a powerful form of social control was exerted through the fact that, in Switzerland, the most fragile members of the community were systematically sacked or marginalized. Eventually, moving to Paris represented for Swiss women the possibility to display their professional ambitions, notably by highlighting their professional experience in Paris but also by distancing themselves from a community which was quick to heat opprobrium on women having children out of wedlock
Delattre, Simone. "Les douze heures noires : la nuit à Paris (1815-1870)." Paris 1, 1999. http://www.theses.fr/1999PA010567.
Full textTaking an interest in the nocturnal side of the activity of Paris in the XIXth century leads us to question ourselves about the impact of urban modernity. Are the lights of entertainment and imperial prosperity sufficient to abolish the social shadow which was said to sweep through paris before 1848 ? to what extent does the city of secrets, maze and subterranean passages vanish behind that of dazzling and purified ostentation ? a specific rhythm of life, whose characteristic is a permanent "night life", distinguishes the capital town from the provinces from the early XIXth century. The proliferation of a literary prose on the contrasts - pleasures of life vs disappointments, fashionable life vs dregs of society - of the parisian nights during the first part of the XIXth century, reveals the keener attention paid to the setting and actors of late hours, the shifting of the public life / private life division. At the same time, the generalisation of public gas lighting eases the continuity of urban functions between day and night, as well as their rationalisation. Hierarchically classified social uses of time and city territory are revealed in the elegant or bohemian "off-beat time" of night birds. As the police control over the centre of paris becomes more acute, the expansion of these new wanderings relegate into a suspicious obscurity those of individuals whose identities and resources are undefined and whose late presence in the streets sets them apart as the members of so-called "dangerous classes" of society. In short, the night sequence lets us catch a glimpse of the reordering of the norms concerning time and space which govern life in paris in the last century and of the combined transformation of social imagination and collective disciplines peculiar to big cities
Bihl, Laurent. "La grande mascarade parisienne : production, diffusion et réception des images satiriques dans la presse périodique illustrée parisienne entre 1881et 1914." Paris 1, 2010. http://www.theses.fr/2010PA010596.
Full textByeon, Ki-Chan. "Les Ouvrières de Paris : Travail et famile : 1872-1914." Paris 7, 1996. http://www.theses.fr/1996PA070074.
Full textAbad, Reynald. "L'approvisionnement alimentaire de Paris aux XVIIe et XVIIIe siècles." Paris 4, 1999. http://www.theses.fr/1999PA040217.
Full textSeltzer, Gregory. "Organized efficiency in a disordered medical setting the American ambulance in besieged Paris, 1870-1871 /." View electronic thesis (PDF), 2009. http://dl.uncw.edu/etd/2009-3/seltzerg/gregoryseltzer.pdf.
Full textNieden, Gesa zur. "Vom grand spectacle zur great season : das Pariser Théâtre du Châtelet als Raum musikalischer Produktion und Rezeption (1862-1914)." Paris, EHESS, 2008. http://www.theses.fr/2008EHES0104.
Full textIn the period from 1862 to 1914 the Parisian Théâtre du Châtelet hosted the three different musical genres grand spectacle, symphonic concert (Concerts Colonne) and musical theatre of the avant-garde (Salome of Richard Strauss, Ballets Russes). This range of genres is musically and socially representative of the musical life of Paris. The study of this theatre as a room of musical production and reception in the period from 1862 to 1914 analyses the establishment and the institutionalisation of these different genres in the Théâtre du Châtelet and defines a reception model for each of them. Methodologically our study is based on the approach of sociology of architecture and the spatial concept of the theatre historian Mercedes Viale-Ferrero. A comparison of the three different types of musical production in that époque sheds light on the eclecticism of the 1920s when Paris advanced to be the European capital of the arts
Robin-Romero, Isabelle. "Les établissements pour orphelins à Paris, XVIe-XVIIIe siècles." Paris 4, 1997. http://www.theses.fr/1997PA040201.
Full textAmong all categories of children, orphans have seldom been studied and the sources which would substantiate such research are extremely fragmented. This study's first purpose is to depict the orphan's condition, from a demographic and legal point of view. Then, it will focus on the possibilities that were available to them: being raised by a foster family, wandering around the city or resorting to organized assistance. However, the study is centered around assistance and education establishments in Paris from the sixteenth century to the eighteenth century. It aims at answering three major questions: should sending children to such institutions be equated with abandoning them? Are the charitable institutions of the time to be considered as mere orphanages, in the modern sense of the word, that is to say as institutions in charge of the collective education of parentless children? How much did they do for the children they had in their care? Institutions for orphaned children first appeared in Paris in the sixteenth century, at a time when hospitals started specializing, and they were abolished during the French Revolution which ushered in the "assistance publique" system, the strict centralized organization of the country and the separation between homes and hospitals. Between the sixteenth century and the eighteenth century, there were about ten such institutions and they formed a consistent group although each of them kept its own "identity". They insisted on being distinguished from "hopitaux-généraux" and on protecting their residents, legitimate children who still had relatives or abandoned children whose origins were uncertain. Durable ties built up between, on the one hand the institution and the orphan who became its ward and on the other hand the relatives and the administrators of the institutions who worked hand in hand. The relationship between the orphan and his kin endured and invalidates the theory of disguised abandon. In fact, the means implemented were more sizeable than those brought into play in bigger assistance homes. Not only were there fewer children but they were better taken care of and the material conditions were satisfactory thanks to the building up of a sound real estate property. Finally, administrators were concerned about preparing their wards for the future: school education, housework and vocational training were the three main aspects of this education
Braconnier, Céline. "Improbable cité : Paris et la transition démocratique au début de la troisième république : étude de morphologie politique." Paris 1, 1998. http://www.theses.fr/1998PA010254.
Full textThis dissertation queries the processes at work in the political construction of the capital and assesses their impact on the local configuration of paris. It gives an account of the conflict which at the start of the third republic opposed the Parisians, led by the groupe d'autonomie communale to those who, increasingly greater in number as democratisation gradually set in, claimed to have a leading national role in the destiny of the city : state representatives, elected members of the nation, but also men of letters or members of associations. It sets out to show how the nationalisation of paris, whose achievement ousts the urban democracy of legitimate political interests, gradually becomes acceptable to parisians when, at the turn of the century, the local cultural and political arena itself became the relay for identity proposals founded upon the rejection of citizenship. Through exclusion in the form of a refusal to take a part, the general self-overestimation of Parisians learning to draw benefit from the identification of paris with France made up for the frustrations caused by their political end
Viruega, Jacqueline. "La bijouterie parisienne : 1860-1914." Paris 4, 2002. http://www.theses.fr/2002PA040237.
Full textOne of the most brilliant of the decorative arts, jewellery is also an economic sector which is highly dependent on fashion and the markets. Its story is linked to the history of Paris, which in the 19th century manufactured and exported the majority of French jewellery. This study evaluates the products, clients and producers concerned for the period 1860 - 1914. This was a time of changes in the sector, the first signs of which had already appeared under the Second Empire, and of growth, which came to an end with the entry of France into the war. The demand for cheaper adornment obliged the Parisian jewellers not only to offer luxury pieces but also to undertake small-scale production of well-made costume jewellery. In 1860, the makers of " imitation " jewellery derived 53% of their turnover from export sales. To preserve these markets Parisian manufacturers were forced into a relentless struggle against German competition. The Paris jewellery business demonstrated the success of their structures and strategies until 1913, when there was a significant fall in exports. The balance between markets and producers gradually shifted, the manufacturing structures being unable to withstand the massive demand for quantity and low prices. The surviving companies refocused on the top end of the market. The quality they maintained opened the way for the emergence of luxury groups such as LVMH at the end of the 20th century
Nagaï, Nobuhito. "Les conseillers municipaux de Paris de la Troisième République (1871-1914)." Paris 1, 1997. http://www.theses.fr/1997PA010664.
Full textIn the French historiography, Paris of the nineteenth and twentieth centuries is not enough studied. Working on a group of politicians, which is a social and anthropological reflexion of the place in question, we have tried to presente some aspects of the political and social life at this capital under the third republic. On the whole, the municipal councillors came from the upper strata of the Parisian society, and most of them had exercised an economical or intellectual profession. The lower and the middle classes were, indeed, more represented than in the past. But the democratization was limited, and was realized mainly by the socialists. The councillors owed this social position to their effort and success. The family seldom played a major role in the career of the councillors, especially in their political life. What characterized the most the municipal officials of Paris it was precisely their political career : nearly one third of them became parliamentaries, and some of them ministers. For them, a position at the city hall was only a spring-board which allowed them to reach the summit of the state. These aspirants for the parliament, often provincials who arrived at the capital for their study, were elected to the municipal council relatively young. Some of these political elites would form a hard core of the republican party, and manage the affairs of the country. This passage between the city hall and the parliament decided to a large extent the character of the municipal council. By the stakes of its elections, and by the tonality of its debates, the Parisian assembly was a sort of little parliament
Allexandre-Lefevre, Elizabeth. "L' infanticide devant le Parlement de Paris de 1750 à 1790." Paris 2, 2002. http://www.theses.fr/2002PA020068.
Full textFiori, Ruth. "La construction d'une conscience patrimoniale parisienne à la fin du XIX siècle : acteurs, pratiques et représentations (1884-1914)." Paris 1, 2009. http://www.theses.fr/2009PA010572.
Full textBenoist, Jacques. ""Le Sacré Cœur de Montmartre" : spiritualité, art et politique (1870-1923)." Paris 4, 1991. http://www.theses.fr/1990PA040155.
Full textThe basilica of the sacred heart has always been the target of numerous criticisms. These cannot be understood without investigating the promoters' intentions. Under the shock of the event of 1870 in Rome as well as in France, they pledged in December 1870-January 1871 to build a church dedicated to the heart of Christ thanks to a national subscription, so as to obtain from god both salvation for France and liberation for the Holy Father. The national assembly granted their initiative the public interest status. Paul Abadie became their architect. During the slow building of the monument, pilgrimages and perpetual adoration began rapidly. The decoration expressed in the stone the builders' vision of the world. The critics and the criticisms of times past and present have long held general attention but are now being criticized themselves
Hu, Xiaoli. "La description dans "Les Mystères de Paris" et "Le Juif errant" d'Eugène Sue." Clermont-Ferrand 2, 2007. http://www.theses.fr/2007CLF20020.
Full textSniter, Christel. "Les femmes célèbres dans la statuaire publique à Paris (1870-2004) : enjeux politiques et spécificité de la mémoire féminine." Paris 1, 2005. http://www.theses.fr/2005PA010326.
Full textThillay, Alain. "La liberté du travail à Paris sous l'Ancien Régime : l'exemple du faubourg Saint-Antoine." Paris 4, 1999. http://www.theses.fr/1999PA040037.
Full textBarth, Volker. "Mensch vs. Welt : die Pariser Weltausstellung von 1867." Paris, EHESS, 2004. http://www.theses.fr/2004EHES0154.
Full textThe thesis treats the Paris universal exhibition of 1867 as a communication model (sender - medium - receiver). This model is completed by a chapter on the thematic of the strange/other at the exhibition. The principal questions concern the motivations of the French exhibition organisers, the methods of the representation of the entire world by the means of a specific medium as well as the perception of the show by the over elen million visitors. The fundamental difference between the intentions of the spectators on the other serve as a guide-line for the analysis which is based on data explored in French and international archives and on a bibliography of more than 1. 500 titles
Driancourt-Girod, Janine. "Les Luthériens à Paris du début du XVIIe siècle au début du XIXe siècle (1626-1809)." Paris 4, 1990. http://www.theses.fr/1990PA040159.
Full textHere is the history of two lutheran congregations of German craftsmen,established in Paris,during the 17th and 18th centuries,under the protection of the Swedish embassy and Danish embassy chapels. .
Sauget, Stéphanie. "À la recherche des Pas Perdus : dans la matrice des gares parisiennes (1837-1914)." Paris 1, 2005. http://www.theses.fr/2005PA010606.
Full textHallsted-Baumert, Sheila. "Le métropolitain : technologie, espace et création d'identités urbaines dans le Paris de fin de siècle." Paris, EHESS, 1999. http://www.theses.fr/1999EHES0087.
Full textMin, You-Ki. "La réforme de l'habitat populaire dans la région parisienne, 1870-1914 : anthropologie historique des logements sociaux." Paris, EHESS, 2003. http://www.theses.fr/2003EHES0130.
Full textIn a perspective of historical anthropology this thesis analyse the whole factors formning the popular housing reform from 1870 to 1914 : the condition of the popular housing, the conducts determined by the housing, the legislative and administrative foundations of the social housing, the origins of the HBM societies and their constructions, public establishments and the associations which supported this reform, the speech of the bourgeoisie class which is directed to this reform, the positions of the socialists regarding their politics, the question of the state's function and the private initiative in the reform, the norms and the rules reclaimed for the social housing, the organisation of the space in the H. B. M. Being at once conservative and progressive, the popular housing reform is the result of sociocultural strategies for the social integration and segregation which arrived to make practice with the harmonious technique in control of the mass society, around the domestic spaces
Marty, Laurent. "1805, la création de Don Giovanni à Paris." Paris 12, 2003. http://www.theses.fr/2003PA120007.
Full textFirst performance of Mozart’s Don Giovanni at the the Opera de Paris was one of the outstanding events of 1 805 season, because it was the flrst time that a truly coniplete work by this composer was played in France. After studying musical and aesthetic context of the tirne. This thesis recalls the history of this creation, with many documents and extracts of correspondence showing administration’s reserves and singers’ fear. The detailed study of French version booklet and score, in comparison with work by Mozart and Da Ponte. Reveals the very many differences between original and adaptation and makes it possible to understand better French musical aesthetics oftime. Lastly, study ofreception ofwork through French and foreign press highlights reluctance of French audience to Mozart’s style, and more generally to German music, seen to be an attack on classical “good taste’
Vasseur, Édouard. "L'exposition universelle de 1867 à Paris : analyse d'un phénomène français au XIXe siècle." Paris 4, 2005. http://www.theses.fr/2005PA040094.
Full textThe 1867 world fair of Paris permitted to study a certain French craze towards industrial exhibitions. The following groups contributed to the event: industrials - for commercial and strategic reasons, the Government - promoting its economic policy subsequently to the free trade agreement of 1860 between Great Britain and France, the elite -intending to improve product designs and reinforce professional training. The organisation benefited from the experience of Frederic Le Play, head of the Imperial Commission, who contributed to major evolutions. These included pavilions, greater autonomy for exhibitors, working class concerns and the advent of large scale entertainment. The exhibition was an organisational success with mixed results. The French industry had been modernised and France was always the leading nation in arts and crafts. Nevertheless the USA and German states had shown to make rapid progress; Socil concerns of the paternalists had sadely little impact on workers
Delaive, Frédéric. "Canotage et canotiers de la Seine : genèse du premier loisir moderne à Paris et dans ses environs (1800-1860)." Paris 1, 2003. http://www.theses.fr/2003PA010546.
Full textLee, Eunyoung. "Au plaisir de savoir : l'invention des conférences populaires : Paris 1860-1914." Paris, EHESS, 2016. http://www.theses.fr/2016EHES0037.
Full textPopular lectures, which proliferate in Paris between the mid-19th century and the eve of the Great War, are an excellent observatory for understanding the changes occuring in the representations of knowledge and its uses, when the mass emerge as a cultural client. Promoted by elites anxious to raise the level of mass culture, lectures are submitted to the requirements of both a serious and democratic recration for their organisation. The organizational policy must strenthen the public's fancy he is indulging in a pleasant distraction. By mutating into lecturers, holders of knowledge respond to a social demand for a popularization of knowledge. Among them emerge lecturers adulated by their public, who prefer a familiar figure rather than an austere authority. Among them emerge lecturers adulated by their public, who prefer a familiar figure rather than an austere authority. Coming from various social backgrounds, of both sexes, this mixed audience where one meets each other drivent by a commun desire for knowledge forms a new soda scene by its very melting. Thus develop new ways of appreciating knowledge and claiming one's pleasure at the audience seat. The set of mutations affects social representations of knowledge and generates a new intellectual sensibility among the common people : the pleasure of knowing and the joy of learning
Taveaux-Grandpierre, Karine. "De la diffusion de la presse parisienne quotidienne en France : Hachette et les quotidiens à grand tirage, 1870-1914." Paris 3, 1999. http://www.theses.fr/1999PA030123.
Full textPéloille, Évelyne. "L'imprimerie parisienne de 1881 à 1914, aspects des mutations dans l'organisation de la production." Paris 1, 1994. http://www.theses.fr/1994PA010517.
Full textThe object of this thesis is to show that, because of its ambivalence, the printing production has a share in the society development, which interactively operates on the demand and its multiplication and underlies the industrial activity expansion of the printing. On the one hand, printed matter is an industrial product which integrates in the flow of goods to satisfy social needs; on the other hand, it proceeds from circumstances since it reflects it, supports it, lives from it and generates it at once, because printed matter has a specific nature compared to others goods: it has a content. With the increase of social and conjecture needs, because of the political, economical, social and cultural context specially productive, there is a considerable expansion of the printing production which necessitates to abolish, with the 29th july 1881 law, the restrictive frame set up by Napoleon 1 st between 1810 and 1812, on the printing subject. New techniques are brought into operation in order to satisfy, in its variety, the market needs. The result for the industrial environment is the establishment of new relations with the financial capital and the setting up of new production ratios. The development of production forces generates transfers such as the production process changes in form and nature, creating the emergence and the statement of contradictions of capitalist types
Carvais, Robert. "La chambre royale des bâtimentsJuridiction professionnelle et le droit de la construction à Paris sous l'Ancien Régime." Paris 2, 2002. http://www.theses.fr/2001PA020073.
Full textTakai, Tetsuhiko. "De l'association à l'organisation : le système des affaires du bâtiment et des travaux publics à Paris, 1882-1929." Paris, EHESS, 1999. http://www.theses.fr/1999EHES0059.
Full textCharvet, Marie. "De l'hygiénisme à l'urbanisme : la question des fortifications de Paris de 1880 à 1919." Paris, EHESS, 1999. http://books.openedition.org/pur/17312.
Full textMy ph d dissertation deals with the debates about the fate of paris' last fortification between 1880 and 1919. From this example, i intend to study the birth of urbanism and its hygienist roots. The first part is concerned with the formation of hygienist and urbanist +common senses;. I pay special attention to the nationalist dimension of both hygienism and urbanism. The debates about paris' fortification shows that nationalism is one of the threads which link hygienism and urbanism together : from 1880 to 1919, all the actors involved in the debates share the same design to solve a specifically national issue : the lack of space in paris and more generally in french large cities. In the second part, i study more specifically the actors involved in the debates, from paris +conseillers municipaux; to social reformers of the +musee social;'s +section d'hygiene;. Especially, i explain the role played by society people, with their concern for +open spaces; in the birth of urbanism
Godineau, Laure. "Retour d'exil : les anciens communards au début de la troisième république." Paris 1, 2000. http://www.theses.fr/2000PA010525.
Full textBouquin, Corinne. "Recherches sur l'imprimerie lithographique à Paris au XIXème siècle : l'imprimerie Lemercier (1803-1901)." Paris 1, 1993. http://www.theses.fr/1993PA010729.
Full textLithography is not only a new technique among others, it is also the impulse of an overthrow in the world of picture during the nineteenth century. Born with the century, this invention will mark it, evolving technically toward photography. These researches focuse on the printers often reglected as compared to the artists. All those lithographic printers, mainly of modest origin, because lithography by accident or ambition. Most of them were general printers albeit a few were specialized in a particular type of picture. Little known on the whole, this profession was really a part of the book business. A few names are still known today, among these is Rose-Joseph Lemercier, ambitious business man sensitive to artistic lithography. During his career, pictures from artists like Achille Deveria, Eugene Ciceri, Rodolphe Bresdin ou Odilon Redon are printed along with posters or popular prints. The important production of this printing-works conclude the study of his founder, from his activity of basket-maker to the position of head in his firm, and shows the perspectives of the numerous uses of this new technique, especially within illustrated books
Le, Gall Guillaume. "Collectionner le vieux Paris : Eugène Atget (1857-1927) et le travail de l'histoire /." Paris : G. Le Gall, 2002. http://catalogue.bnf.fr/ark:/12148/cb38922053h.
Full textKohn, Jean-Louis. "La bourgeoisie juive à Paris au Second Empire." Paris 1, 1994. http://www.theses.fr/1994PA01A012.
Full textMorin, Geneviève. "Le monde de la pratique saisi par la communauté des procureurs au parlement de Paris (1670-1738)." Thesis, Paris, EHESS, 2020. http://www.theses.fr/2020EHES0020.
Full textThis work is based on a source hitherto largely underused and which belongs to the community of attorneys (procureurs in French) in the parliament of Paris under the Ancien Régime. The source seems familiar in that it relates to a disciplinary order common to many judicial systems and trades of the time, yet its object has gone unnoticed : la pratique. In 1670, a Chambre de la postulation was established under the authority of Parliament, the objective of which was to prosecute alleged corporate acts against the ministry of the attorney in the Parliament of Paris. The registers produced by this chamber between 1670 and 1738 form the raw material of this work and reflect uses which form as many deviations from an order made by the community as windows on the world of practice. The postulation, caught in its relations between the postulant and the attorney who lends his name, becomes, once out of the registers and articulated with other corpora of sources, a tool to probe the life of the attorney’s office, the difficulty of the profession and its access as disputed by various untitled practitioners. As a manifestation of social and professional registration, the postulation, brought to light by the community of attorneys, sheds light on various uses in the world of the pratique where the deployment of the attorney’s pratique is ill suited to the narrowness of the title
Keays, Lloyd-Eden. "L'État civil, fenêtre sur le monde ouvrier : étude des actes de mariage à Paris en 1856-1857." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape17/PQDD_0005/MQ31739.pdf.
Full textUngaro, Stefano. "The relationships between money and financial markets in France. 1880-1914." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH048/document.
Full textThis thesis deals with the relationship between the money market and the financial market from 1880 to 1914. It focuses in particular on the market for short-term loans. This dissertation studies in detail two segments of this market: the advances on securities (collateralized short-term loans), and the repo market (repurchase agreements). The key financial intermediaries are the Banque de France, four main commercial banks, regional banks, the « coulisse » operating over-the-counter and the « Compagnie des agents de changes ». The dissertation is structured in three chapters. The first deals with the introduction of a clearing house in the French historical repo market, and studies its consequences on counterparty risk. The second chapter deals with Bank of France monetary policy between 1890 and 1913 and the role of the banking sector in the transmission of policy shocks. The third chapter deals with the Great Financial Crisis of 1914
Bertherat, Bruno. "La morgue de Paris au XIXe siècle (1804-1907) : les origines de l'institut médico-légal ou les métamorphoses de la machine." Paris 1, 2002. http://www.theses.fr/2002PA010563.
Full textLoupiac, Claude. "L'architecture théâtrale en France à la Belle Epoque et le cas du Théâtre des Champs-Elysées." Paris 1, 1993. http://www.theses.fr/1993PA010512.
Full textOwing to its modernity, the Champs-Elysees theater is often the only theater to be mentioned for the 1880-1914 period. Wishful to compare it to theatrical architecture of this period, I found that this one has never been studied and remains fully ignored. For lack of an inventory, I established an unexhaustive corpus of 81 theaters built in France between 1880 and 1914 and exclusively dedicated to lyric and talk repertory. The first part being devoted to the study of the conditions of this production, I have successively analysed there the reasons which justify the erection of a new theatre, the nature of programmes and the procedures for choosing architects. The second part is consecrated to the survey of the contemporaneous theoretical dispute about theatrical architecture, as it results from theatises and from articles publicated in specialised press. Often mentioned by theoricians, english and german theaters are also studied in this part where a broad expounding is dedicated to the discussion about the safety, through the analysis of regulations and safety model theaters. In the third part, the use of a micro-analysis, based upon quantitative and statistical methods, has allowed me to study the evolution, during those four decades, of the different spatial components of the theaters of the corpus while successively entering upon serving spaces of the auditorium (entrances, lobbies, circulations, sociableness spaces, comfort fittings, tec. ), the auditorium itself, the stage and its annexes, the decorative handling of inner spaces and facades. The fourth part is devoted to the Champs-Elysees theater ; after the expounding of incentives and organisation of work mastership and of the personality and work of the four successive architects, i have analysed there the spatial components of the different projects and of the final building and compared them with those of the corpus
Rumeau-Dieudonné, Marie-Hélène. "Les fêtes et cérémonies royales à Paris aux XVIIème et XVIIIème siècles : moyen privilégié d'expression des valeurs politiques et sociales." Paris 4, 1998. http://www.theses.fr/1998PA040055.
Full textPublic royal feasts and ceremonies, because they mobilize all groups of the society, integrate all sorts of art and erudition, and fan out in time and in space after the fashion of the theatre plays, are the most perfect support which the absolute monarchy could find to display and exalt her values. At the same time, the different public authorities aren't able to imagine a language more incident to show their hierarchies, even their demands, than this double language ceremonious and feasting, total expression of the civilization, inclusively intelligible by everybody. Now, the impact of same demonstrations is all the more important as they unroll in the capital of France, show case of the regime and cultural lighthouse of Europe. To the XVIIth century, the great ceremonials of state impressing the transition between tow reigns preserve some importance: royal entrances, bed of justice and king's funeral. But with the affirmation of the monarchic absolutism these ceremonies, which demonstrate the continuity of the power, lose their utility. The first bed of justice only keeps his inaugural value. On the over hand, the royal person's worship is made concrete by the "carrousels", the inauguration of statues and the celebration of king's recoveries. The xviii century witnesses the climax of the feasts which celebrate royal marriages and heirs of the throne's birth. While the ambassadors’ entrances run to seed, the celebration of military victories, then above all that of treaty of peace, are a great success on the eve of the Revolution
Térade, Annie. "La formation du quartier de l'Europe à Paris : lotissement et haussmannisation (1820-1870)." Paris 8, 2001. http://octaviana.fr/document/181319055#?c=0&m=0&s=0&cv=0.
Full textLanoë, Catherine. "Les jeux de l'artificiel : culture, production et consommation des cosmétiques à Paris sous l'Ancien Régime XVIe-XVIIIe siècle." Paris 1, 2003. http://www.theses.fr/2003PA010660.
Full textDuplâtre-Debès, Brigitte. "Les peintres espagnols à Paris à la fin du XIXe siècle (1872-1899)." Paris 4, 2000. http://www.theses.fr/2000PA040140.
Full textJoyeux-Prunel, Béatrice. ""Nul n'est prophète en son pays. . . " ou la logique avant-gardiste : l'internationalisation de la peinture des avant-gardes parisiennes : 1855-1914." Paris 1, 2005. http://www.theses.fr/2005PA010522.
Full textBats-Sardain, Marie-France. "Un siècle de la défense de Paris (1814-1914)." Paris 10, 2001. http://www.theses.fr/2001PA100085.
Full textThe defence of Paris was non-existent when allied army access to Paris in 1814-1815. Many discussions between civilians and military people take place between 1818 and 1836. After this period, outworks were decided by Thiers in 1840, he was Louis-Philippe ministry. The conception of defence was organized by a surrounding wall around Paris and 16 forts outside of the city. The technics were already decayed in front of German artillery. Anyway, the prussians never attack Paris but lay siege around Paris. The two sieges of paris imposed a technical evolution in the defence of the city. A new programm of fortress was decides and general Séré de Rivieres, in charge of sappers managed the projects. From 1874 to 1881, it was built 18 outworks, 5 redoubts and 34 batteries around Paris. Just finished, these constructions were already out-of-date. In 1885, a new explosive called "Melinite" broken down all walls without beton. A projetc was studied for pulling down the old wall of the city. But the war of 1914 started and nothing happens. Gallieni? General governer of paris decided to retore the outworks because Paris was again in danger. By chance, the german army move in the south-east direction and in this position, Paris was safe