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Books on the topic 'Art roman – France (sud)'

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Published: 22 June 2024

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1

Coarelli, Filippo, Simone Sisani, and Emidio De Albentiis. I romani in Sicilia e nel sud dell'Italia. Udine: Magnus, 2006.

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2

Dectot, Xavier. L'art roman en France. Paris: Hazan, 2005.

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3

Vergnolle, Eliane. L' Art roman en France: Architecture-sculpture-peinture. Paris: Flammarion, 1994.

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4

Rotily, Jocelyne. Au sud d'Eden: Des Américains dans le sud de la France (années 1910-1940). Marseille [France]: Association culturelle France-Amérique, 2006.

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5

Ripert, Pierre. La France monumentale: Dictionnaire-guide : préhistoire, civilisation gréco-latine, art roman et art gothique. Paris: Lafon, 1998.

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6

Geneviève, Sennequier, Arveiller-Dulong Véronique, and Association française pour l'archéologie du verre., eds. Les verres romains à scènes de spectacles trouvés en France. [Rouen]: Association française pour l'archéologie du verre, 1998.

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7

Parreno, Philippe. Philippe Parreno: Exposition présentée au Centre Pompidou, Galerie Sud, du 3 juin au 7 septembre 2009. Paris: Centre Pompidou, 2009.

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8

Parreno, Philippe. Philippe Parreno: Exposition présentée au Centre Pompidou, Galerie Sud, du 3 juin au 7 septembre 2009. Paris: Centre Pompidou, 2009.

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9

Dieu, Lionel. La musique dans la sculpture romane en France. [St-Chély d'Aubrac, France]: Centre de développement en art et culture médiévale, 2006.

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10

itinerari di ricerca nel Lazio meridionale (2016 II Università degli studi di Roma) Convegno A sud di Roma. A sud di Roma: Itinerari di ricerca nel Lazio meridionale : atti delle giornate di studio, 26-27 ottobre 2016, Università degli studi di Roma "Tor Vergata". [Tivoli]: Edizioni Tored, 2021.

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11

Gaborit-Chopin, Danielle. La France romane: Au temps de premiers Capétiens (987-1152). Paris: Hazan, 2005.

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12

Thibaud, Robert-Jacques. L' art initiatique roman: Saulieu, berceau de l'ésoterisme chrétien. Joigny: l'Arbre de Jessé, 1996.

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13

Prin, Rémy. Aulnay d'ombre et de lumière: Un art roman d'exception. Saint-Jean-d'Angély: J.-M. Bordessoules, 2009.

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14

Guigon, Philippe. L' architecture pré-romane en Bretagne: Le premier art roman. [Rennes]: Institut culturel de Bretagne, 1993.

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15

C, Anderson James. Roman architecture in Provence. Cambridge: Cambridge University Press, 2013.

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16

Bacquet, Gérard. Le Ponthieu. Auxi-le-Château: G. Bacquet, 1992.

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17

André, Pelletier, ed. Histoire de Lyon, des origines à nos jours. Le Coteau: Horvath, 1990.

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18

Columeau, Ph. Alimentation carnée en Gaule du sud: VIIe s. av. J.-C.-XIVe s. Aix-en-Provence: Publications de l'Université de Provence, 2002.

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19

Cassaigne, Alain. L'art roman en France: De la terre vers le ciel : architecture, peinture, sculpture, vitraux, mosaïque, arts précieux. Clermont-Ferrand: dB, 2019.

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20

Vergnolle, Eliane. Saint-Benoît-sur-Loire: L'abbatiale romane. Paris: Société française d'archéologie, 2018.

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21

Brown, Dan. Da Vinci code: Roman. Paris: JC Lattès, 2004.

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22

Brown, Dan. Da Vinci code: Roman. Paris: J.-C. Lattès, 2004.

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23

Norci Cagiano De Azevedo, Letizia. and Università degli studi Roma tre. Centro di studi italo-francesi., eds. Roma triumphans?: L'attualità dell'antico nella Francia del Settecento : atti del convegno internazionale di studi, Roma, Centro di studi italo-francesi, Sala Capizzucchi, Musei Capitolini, Sala Pietro da Cortona, 9-11 marzo 2006. Roma: Edizioni di storia e letteratura, 2007.

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24

Boss-Favre, Myrielle. La sculpture figurée des arcs romans de France. 2nd ed. Zurich: Éditions du Grand Midi, 2000.

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25

Jean-Pierre, Dufoix, Hartmann-Virnich Andreas, Bertozzi Jean-André, and Curial Christophe, eds. Le portail de Saint-Trophime d'Arles: Naissance et renaissance d'un chef-d'oeuvre roman. Arles: Actes Sud, 1999.

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26

Morvillez, Éric. Paradeisos: Genèse et métamorphose de la notion de paradis dans l'Antiquité : actes du colloque international. Paris: De Boccard, 2014.

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27

Draine, Betsy. Murder in Lascaux. Madison, Wis: Terrace Books, 2011.

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28

Horaz-Rezeption in der neulateinischen Literatur vom 15. bis zum 17. Jahrhundert (Deutschland-France-Italia) (Conference) (2012-2014 Centro italo-tedesco Villa Vigoni). Non omnis moriar: Die Horaz-Rezeption in der neulateinischen Literatur vom 15. bis zum 17. Jahrhundert = La réception d'Horace dans la littérature néo-latine du XVe au XVIIe siècle = La ricezione di Orazio nella letteratura in latino dal XV al XVII secolo : (Deutschland-France-Italia. Hildesheim: Georg Olms Verlag, 2020.

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29

McKitterick, Rosamond. Charlemagne: The formation of Carolingian political identity. Cambridge: Cambridge University Press, 2008.

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30

Davis, Natalie Zemon. Fiction in the archives: Pardon tales and their tellers in sixteenth-century France. Stanford, Calif: Stanford University Press, 1987.

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31

Accademia di Francia (Rome, Italy), ed. Roma antiqua: Forum, Colisée, Palatin : envois des architectes français, 1788-1924 : Curie (Forum romain), Villa Médicis, Rome, 29 mars-27 mai 1985, Ecole nationale supérieure des beaux-arts, Paris, 7 mai-13 juillet 1986. Rome: Académie de France à Rome, 1985.

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32

Erlande-Brandenbourg. Art roman en France. Jean-Paul Gisserot, 2003.

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33

Prache, Anne. L'art roman en France (Art et foi). Mame, 1989.

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34

Collectif. Merveilleux Art Roman: Eglises et Abbayes de France. Editions de l'Olympie, 1996.

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35

Collectif. Merveilleux Art Roman: Eglises et Abbayes de France. Editions de l'Olympie, 1996.

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36

Guinand, Cécile. Roman et caricature au XIXe siècle. Poétiques réalistes entre Illusions perdues et Éducation sentimentale. Librairie Droz, 2020. http://dx.doi.org/10.47421/droz60356.

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Au XIXe siècle, la caricature connaît un essor sans précédent en France et les écrivains s’intéressent de près à ce phénomène médiatique qui n’est pas sans lien avec le réalisme littéraire. Déformation au service du dévoilement de la v©rité, écart face au discours politique officiel et en porte-à-faux vis-à-vis des canons culturels, la caricature modèle l’imaginaire des écrivains qui s’inspirent de ses codes et mettent au point une caricature textuelle. Art en constant dialoue avec le contexte historique, politique, social et culturel, la caricature est indissociable de ses supports de diffusion : littérature panoramique, presse satirique illustrée, monde du théâtre, albums… ces différentes formes éditoriales sont autant de sources pour les romanciers qui s’en inspirent en même temps qu’ils s’en distancient. De l’étude sémiotique à l’analyse socio-culturelle médiatique, cet essai détaille les implications littéraires des relations entretenues par le roman réaliste et la caricature en s’appuyant sur deux œuvres majeures qui mettent en abyme ce contexte culturel, social et médiatique particulier : les Illusions perdues de Balzac et L’Éducation sentimentale de Flaubert.
37

C, Anderson James, and Anderson James C. Jr. Roman Architecture in Provence. Cambridge University Press, 2012.

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38

Hameau, Philippe. Passage, Transformation Et Art Schematique: L'Exemple Des Peintures Neolithiques Du Sud de La France (Bar International Series). British Archaeological Reports, 2002.

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39

Lapatin, Kenneth D. S. The Berthouville silver treasure and Roman luxury. 2014.

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40

Jaques, Susan. Caesar of Paris: Napoleon Bonaparte, Rome, and the Artistic Obsession That Shaped an Empire. Pegasus Books, 2020.

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41

Jaques, Susan. Caesar of Paris. Pegasus Books, 2018.

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42

Renoue, Marie. Semiotique et perception esthetique. pierre soulages et saintes-foy de conques. Presses Universitaires de Limoges (PULIM), 2001.

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43

McKitterick, Rosamond. Charlemagne: The Formation of Carolingian Identity. Cambridge University Press, 2008.

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44

Charlemagne. Cambridge University Press, 2008.

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45

Silva, Daniel. The English Girl: A novel. 2013.

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46

Emery, Elizabeth. Romancing the Cathedral: Gothic Architecture in Fin-De-Siecle French Culture. State University of New York Press, 2001.

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47

Emery, Elizabeth. Romancing the Cathedral: Gothic Architecture in Fin-De-Siecle French Culture. State University of New York Press, 2001.

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48

Christian, Kathleen, and Bianca de Divitiis, eds. Local antiquities, local identities. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526117045.001.0001.

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This book brings together essays on the burgeoning array of local antiquarian practices developed across Europe in the early modern era (c. 1400-1700). Adopting an interdisciplinary and comparative method it investigates how individuals, communities and regions invented their own ancient pasts according to concerns they faced in the present. A wide range of 'antiquities' -- real or fictive, Roman, or pre-Roman, unintentionally confused or deliberately forged -- emerged through archaeological investigations, new works of art and architecture, collections, history-writing and literature. This book is the first to explore the concept of local concepts of antiquity across Europe in a period that has been defined as a uniform 'Renaissance'. Contributions take a new novel approach to the revival of the antique in different parts of Italy and also extend to other, less widely studied antiquarian traditions in France, the Netherlands, Spain, Portugal, Britain and Poland. They examine how ruins, inscriptions, and literary works were used to provide evidence of a particular idea of local origins, rewrite history or vaunt civic pride. They consider municipal antiquities collections in Southern Italy and Southern France, the antiquarian response to the pagan, Christian and Islamic past on the Iberian Peninsula, or Netherlandish interest in megalithic ruins thought to be traces of a prehistoric race of Giants. This interdisciplinary book is of interest for students and scholars of Early modern art history, architectural history, literary studies and history, as well as classics and the reception of antiquity.
49

Effros, Bonnie, and Isabel Moreira, eds. The Oxford Handbook of the Merovingian World. Oxford University Press, 2020. http://dx.doi.org/10.1093/oxfordhb/9780190234188.001.0001.

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The Merovingian era is one of the best studied yet least known periods of European history. From the fifth to the eighth centuries, the inhabitants of Gaul (what now comprises France, southern Belgium, Luxembourg, Rhineland Germany and part of modern Switzerland), a mix of Gallo-Romans and Germanic arrivals under the political control of the Merovingian dynasty, sought to preserve, use, and reimagine the political, cultural, and religious power of ancient Rome while simultaneously forging the beginnings of what would become medieval European culture and identity. As a result, the Merovingian era is at the heart of historical debates about what happened to western Europe after the fall of the Roman Empire. Yet in these centuries, the inhabitants of the Merovingian kingdoms created a culture that was the product of these traditions and achieved a balance between the world they inherited and the imaginative solutions that they bequeathed to Europe. Situated at the crossroads of Europe, connecting northern Europe with the Mediterranean and the British Isles with the Byzantine empire, Merovingian Gaul also benefitted from the global reach of the late Roman Empire. In this collection of 46 essays by scholars of Merovingian history, archaeology, and art history, we encounter the new perspectives and scientific approaches that shape our changing view of this extraordinary era.
50

Radner, Hilary, and Alistair Fox. An Elegy for Cinema1. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474422888.003.0005.

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This chapter describes how Raymond Bellour in the twenty-first century enters into the on-going debates about the end of cinema that commenced in France in the late 1980s. The chapter underlines how he focuses largely on the changing shape and nature of the dispositif (or viewing situation, including the assumptions that a spectator brings to the viewing experience) in response to new technologies, with an emphasis on moving-image installation art shown in the museum or gallery. Whereas some scholars, such as Francesco Casetti, among others, have claimed that digital technologies and the proliferation of diverse viewing platforms mark a further development, a continuation of what was once cinema (and perhaps even the nineteenth century novel, the photo-roman, the comic book. etc.), Bellour sees these changes as constituting a fundamental break, an ontological shift in the nature of the medium. For Bellour, the dispositif – the apparatus, or physical setting and its technological and psychic potentiality for interaction, as well as the codes that inform this interaction, within which the viewer confronts and makes meaning out of a narrative, visual or otherwise – is fundamental to the experience of cinema and the ideas that it generates. This section offers an exploration Bellour’s understanding of these crucial changes, the implications of which animate discussions about contemporary media across the disciplines.
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