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Dissertations / Theses on the topic 'Languedoc (France) – History – 17th century'
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1
Adgé, Michel. "La construction du canal royal de la jonction des mers en Languedoc (Canal du Midi)." Thesis, Montpellier 3, 2011. http://www.theses.fr/2011MON30110.
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Le présent travail concerne la construction du Canal depuis les origines jusqu'en 1694.Sont étudiés tout d'abord les projets de jonction des Mers depuis l'Antiquité, puis ceux qui ont vu le jour en Bourgogne et en Languedoc aux XVIe et XVIIe siècles, la suite de leurs échecs ayant formé l'atmosphère dans laquelle s'est déroulée l'aventure du Canal.Ignorant les légendes, on examine ensuite le milieu intellectuel dans lequel s'est formée l'idée du Canal de Languedoc ; l'aménagement des graus du golfe du Lion et la création du port de Sète ; le cheminement de la commission de 1664 et le devis qui en est résulté.Une deuxième partie traite du déroulement des travaux, de leur exécution et de leur financement, puis des travaux de parachèvement du Canal par Vauban et ses ingénieurs<br>This work deals with the building of the Canal du Midi from the onset to 1694.It first studies the projects of canals joining seas in ancient history, and then those of Burgundy and Languedoc in the 16th and 17th centuries, the failure of which provides the backdrop of the Canal du Midi endeavour.Leaving legends aside, we then explore the intellectual milieu in which the idea of a canal joining the Atlantic Ocean and the Mediterranean through Languedoc was sparked; the engineering of the coastal lagoon passes along the Gulf of Lion and the building of the port of Sète. Finally, we retrace the work of the study committee in 1664 and the resulting cost estimate.The second part of this dissertation deals with the works themselves and their financing, and finally with the finishing work on the canal by Vauban and his engineers
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Carrier, Isabelle. "Virtuosité procédurière : pratiques judiciaires à Montpellier au Grand Siècle." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84487.
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The judicial system of seventeenth-century France is often qualified as vitiated and inefficient. Actually, truth and equity are virtually absent from the court. In these conditions, why would one appeal to institutional justice? Montpellier notables use the judicial system to exert pressure on a debtor, to redress the internal familial order, to sidestep customary practices, to take revenge, to cause harm. Indeed, the question of law is rarely something other than a pretext, and it is precisely because it is vitiated that the judicial system can be used in that way. The analysis of the procedural practices and of the judicial system as they are---instead of as they should be---allows us to penetrate the fascinating universe of social, familial and financial practices. Furthermore, the emphasis on the civil procedures reveals an original perspective which goes beyond the points of view of notarial and criminal archives usually preferred by historiography. The petty Montpellier notables studied here are steering a delicate course between customs, laws and procedures. Far from suffering the imperfections of the judicial system, they are adopting them, appropriating and using them as means of meeting their own objectives. The recourse to justice is similar to a game of chess: the judicial system is the chessboard, its defects are the chess pieces and the jousts, always fought inside the same frameworks and with the same weapons, are opposing various opponents displaying different strategies.
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Stone, Mathew, and University of Lethbridge Faculty of Arts and Science. "A comparative analysis of criminal procedure in seventeenth-century France and Puritan Massachusetts." Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Arts and Science, 2000, 2000. http://hdl.handle.net/10133/123.
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Chapter I is a discussion aimed at providing the reader with a basic understanding of the complex system of social classification that was in a place in ancien regime France for centuries. Chapter II outlines the development of a royal system of justice prior to our period and the royal courts, whose form and hierarchy were the result of years of reform. These chapters represent the judical and social extremes that procedure linked. Chapter III is a thorough and complete discussion of the entire possible process in France during our period. This chapter clearly outlines the order of phases that the French courts followed in a typical prosecution and takes into account that these procedures were the result of years of practice and experience. These three chapters are tied together with a review of the major concepts up to that point and presents a transition from France to a series of chapters devoted to understanding the situation in Massachusetts Bay Colongy. Chapter V offers chronological approach to the development of both laws and courts in the colony. Chapter VI consists of discussion of the procedures used in the colonial courts, and attempts to identify the major English and Puritan influences within the colonial process as they arise. Again, these three chapters are tied together with a review of the major conclusions to be derived from the chapters on Massachusetts. This study concludes with Chapter VII, which offers the reader the comparative analysis of the two systems of procedure. This comparative chapter is structured to reflect the three basic functions we ascribed to criminal procedure at the outset of this discussion.<br>268 leaves ; 28 cm.
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LEMP, RICHARD WARREN. "MOLIERE AND MEDICINE: DISSECTING THE KALEIDOSCOPE (FRANCE)." Diss., The University of Arizona, 1986. http://hdl.handle.net/10150/183776.
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The subject of medicine in the works of Moliere has been traditionally treated as a matter of satire. While it is important to consider this view and while biographical approaches relating Moliere's personal illness to the content of his medical comedy are illuminating, this study proposes that a plurality of views offers a more complete picture. Such analysis discovers that Moliere's medical comedy is much more than satire, that it contains elements of black humor and even approaches the theater of cruelty in its treatment of sickness and death. The metaphor in this approach is in the perception of a composite image of this part of Moliere's theater, much like the pattern that a kaleidoscope discloses. As we may sort out the various elements that compose the kaleidoscopic impression--light and shadow, color, form, change of image through manipulation of the instrument--there is a similarity in the division of elements in Moliere's medical theater. Light and shadow correspond to the opposition of fact and fantasy in seventeenth-century French medicine and constitute the historical view of his work; color corresponds to the notion of Galenic humor theory and suggests that the comedy of character may be analyzed according to humoral temperaments; form corresponds to the language Moliere used in his medical plays; the change of image occurs in Moliere with the passage of time--his medical comedy being farcical at the beginning of his career and much darker towards the end of his life. The purpose of this approach is to identify these separate elements in order to better understand their function as an organic whole. For this reason, the notion of organic unity is also treated. In an effort to relate Moliere's theater to the present day, this study compares Moliere's work with Artaud's notion of the nature and function of theater, with the two meanings of semiology--sign theory and symptomatology, and using an archetypal approach, concludes with the suggestion that sexuality, death, and medicine form a hidden mythology in these plays.
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Lorimer, Emma. "Huguenot general assemblies in France, 1579-1622." Thesis, University of Oxford, 2004. http://ora.ox.ac.uk/objects/uuid:2b3b75f0-02bb-4855-9b2b-f29a17ee5c65.
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A large measure of the durability of the Huguenot movement was derived from then- general political assemblies. The assembly held at Montauban in 1579 was the first attended by a deputy north of the Loire; after the final and twenty-second general assembly at La Rochelle in 1622, only localised gatherings were held. This thesis argues that the assemblies were primarily a corps: their principal purpose was both to oversee the implementation of the edicts of pacification and to mobilize resources if peace broke down. Essentially based on the available manuscript sources, many of them unexplored, this thesis approaches the general assemblies as an institution. The first two chapters highlight the process of convocation of the general assemblies and the manner in which political representation (both within the assemblies and to the monarchy) took place. The third chapter principally explores the relationship between the general assemblies and the chambers created for Huguenots in the parlements from 1576. The assemblies supported these chambers as a means of obtaining implementation of the edicts of pacification. In the fourth chapter, the apparently conflicting attitudes of the general assemblies to property and civil rights are addressed. For instance, while the assemblies regulated the taking of lay and ecclesiastical property, revenue from these sources was often reinvested to support ministers, schools and charitable purposes. The fifth and sixth chapters examine the provisions for war made by the general assemblies and their attempts to ensure the adequate financing of Huguenot troops. The assemblies always stated that they acted in self-defence; a primary concern was the need to ensure the protection of local civilian populations. The monarchy allowed the assemblies to organise levies for the repayment of debts owed to mercenary troops and provided for the maintenance of Huguenot garrison troops from royal revenue. This thesis concludes that while the general assemblies worked as a corps, they never received letters of corporation from the monarchy; they remained ad hoc, susceptible to events and to the manipulation of public opinion through wellaimed pamphlet literature.
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Saint-Amour, Pascal. "Market integration : France's grain markets of the sixteenth and seventeenth centuries." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61806.
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Talbott, Siobhan. "An alliance ended? : Franco-Scottish commercial relations, 1560-1713." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1999.
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This thesis explores the commercial links between Scotland and France in the long seventeenth century, with a focus on the Scottish mercantile presence in France’s Atlantic ports, particularly during periods of domestic and international upheaval. This study questions long-held assumptions regarding this relationship, asserting that the ‘Auld Alliance’ continued throughout the period, despite the widely held belief that it ended in 1560. Such assumptions have led scholars largely to ignore the continuing commercial relationship between Scotland and France in the long seventeenth century, focusing instead on the ‘golden age’ of the Auld Alliance or the British relationship with France in the eighteenth century. Such assumptions have been fostered by the methodological approaches used in the study of economic history to date. While I acknowledge the relevance of traditional quantitative approaches to economic history, such as those pioneered by T. C. Smout and which continue to be followed by historians such as Philipp Rössner, I follow alternative methods that have been recently employed by scholars such as Henriette de Bruyn Kops, Sheryllynne Haggerty, Xavier Lamikiz, Allan Macinnes and Steve Murdoch. These scholars have pioneered methodologies that prioritise private sources, allowing us to delve into the motivations and actions of the individuals who actually effected trade, be they merchants, factors, skippers or manufacturers. The core of my research has therefore entailed the discovery and use of previously untapped archival material including account books, letter books and correspondence, which illuminate the participation of these individuals in international trade. Such a study, while filling a specific gap in our understanding of Scotland’s overseas relations, applies a more social methodology to this topic, suggesting that scholars’ approaches need to be fundamentally altered if we are truly to understand the whole picture of Scotland’s, or indeed any nation’s, commercial relationships or wider economic position.
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Vendrix, Philippe Pierre 1964. "Quelques aspects de l'historiographie musicale en France a l'epoque baroque (French text)." Thesis, The University of Arizona, 1988. http://hdl.handle.net/10150/276706.
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L'historiographie musicale trouve dans la France de l'epoque baroque un champ ideal de developpement. Ce phenomene est lie a la conjonction de differents facteurs: le modele fourni par l'histoire generale, l'heritage humaniste, les mouvements polemiques, les tentatives de refonte de l'histoire de l'Eglise. Les musicographes, de Salomon de Caus (1615) a Jacques Bonnet-Bourdelot (1715), etablissent les fondements d'une critique historique et l'appliquent dans des ouvrages qui annoncent l'expansion de la musicologie a l'age des Lumieres.
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Bruguier, Nathalie. "D'une France l'autre : voyage et écriture à la Renaissance (1550-1598)." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33273.
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Turks and Indians are the two major figures of the Other in French Renaissance literature. The purpose of this thesis is to explore otherness from a closer point of view by analysing the discursive allusions of the inhabitants of the South of the French Kingdom, particularly those of the "Province de Languedoc" throughout a collection of texts from the second half of the 16th century, whether they be strictly of a literary, historical or geographical source. Using the imagology method, the idea of the South being a key space in the emergence of the French identity is challenged.<br>First of all, the South legislates as a land of industrious administrators. However, even if it shows a claim for independence---a secularly evidenced fact---it nevertheless remains subject to the French Crown. Southerners, with identical customs as those of the French, are already part of this political entity. Schismatic area par excellence that tears the State apart, shown by numerous Huguenot patches in the Languedoc region, it is about to embrace the faith of the Same. This tendency occurs together with the linguistic phenomenon: the use of the French language develops at the same time as the practice of Law. The various parameters that distinguish the Other from the Same tend to converge to make the Southerner a subject per se of the Kingdom of the Valois. Far from questioning the foundation of the modern French identity, the people of Languedoc and other Southerners, with a rich distinct set of customs, contribute to it in several ways.
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Monette, Isabelle. "Récritures de récits criminels en France sous l'Ancien Régime." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79966.
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Three original stories are the basis for our study of rewriting during the French Ancien Regime: the story of Thibaud de la Jacquiere, that of the "sorcier Gaufridy" and that of the Marquise de Ganges, which Sade will rewrite as a novel. Having all originated from a "canard", they appear in the 1679 edition of the Histoires tragiques of Francois de Rosset, and two of them can also be found in Francois Gayot de Pitaval's Causes celebres. Each of these stories was rewritten by different authors at least three times. Using Gerard Genette's theory of the narrative, we will analyse the processes of transformation that the rewriting operates in the text, as well as the changes it imposes to its original meaning. The number of rewritings of each text---up to five for the Marquise de Gange---is a testament to the importance of textual reappropriation as much as it shows the relevance of a study which brings to light the role of rewriting in the survival of these stories.
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Stokes, Thomas Hubert Jr. "Audience, intention, and rhetoric in Pascal and Simone Weil." Diss., The University of Arizona, 1990. http://hdl.handle.net/10150/185120.
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This dissertation examines audience, intention, and rhetoric in the writings of Blaise Pascal and Simone Weil. Despite the differences in historical period, ethnic heritage, sex, and milieux, which separate them, these two writers are astonishingly similar with regard to those for whom they wrote--audience--the subject matter of their writings--intention--and their skilled and self-conscious use of language in addressing their audiences and themes--rhetoric. Each of them wrote scientific or philosophical works, and polemical works, intended for a certain public; each of them then wrote, in the final years of their short lives, long notebook or journal entries, a record of spiritual experience which has since been edifying to others besides themselves. The guiding principle here is the function of language. This means how it works (rhetoric), but also, for what purpose (intention) and for whom (audience). We find many metaphors of function in Pascal and Simone Weil. The motivating concern of this dissertation is how Pascal and Simone Weil articulate, through language, God's response to man's yearnings toward God.
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Parker, Mark M. (Mark Mason). "Transposition and the Transposed Modes in Late-Baroque France." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc331880/.
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The purpose of the study is the investigation of the topics of transposition and the transposed major and minor modes as discussed principally by selected French authors of the final twenty years of the seventeenth century and the first three decades of the eighteenth. The sources are relatively varied and include manuals for singers and instrumentalists, dictionaries, independent essays, and tracts which were published in scholarly journals; special emphasis is placed on the observation and attempted explanation of both irregular signatures and the signatures of the minor modes. The paper concerns the following areas: definitions and related concepts, methods for singers and Instrumentalists, and signatures for the tones which were identified by the authors. The topics are interdependent, for the signatures both effected transposition and indicated written-out transpositions. The late Baroque was characterized by much diversity with regard to definitions of the natural and transposed modes. At the close of the seventeenth century, two concurrent and yet diverse notions were in evidence: the most widespread associated "natural" with inclusion within the gamme; that is, the criterion for naturalness was total diatonic pitch content, as specified by the signature. When the scale was reduced from two columns to a single one, its total pitch content was diminished, and consequently the number of the natural modes found within the gamme was reduced. An apparently less popular view narrowed the focus of "natural tone" to a single diatonic pitch, the final of the tone or mode. A number of factors contributed to the disappearance of the long-held distinction between natural and transposed tones: the linking of the notion of "transposed" with the temperament, the establishment of two types of signatures for the minor tones (for tones with sharps and flats, respectively), the transition from a two-column scale to a single-column one, and the recognition of a unified system of major and minor keys.
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Knox, Michael. "The rhetoric of martyrdom in the Jesuit relations of New France, 1632-1650." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:f41c9c61-5e3f-4bce-a665-7e868f2678a4.
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This thesis identifies in the Relations des Jésuites de la Nouvelle-France (Relations), written between 1632 and 1650, a comprehensive rhetoric of total selfoffering to Jesus Christ, a rhetoric of martyrdom, rooted in their authors' particular experience of the Christian tradition, their praying with the Spiritual Exercises (1548) of Ignatius Loyola (1491-1556), their encounters with the spirituality of the French Jesuit Louis Lallemant (1578-1635), and their exposure to various forms of Jesuit mission literature from around the world. Published annually, these Relations were the only consistent account of the unfolding French colonial project in Nouvelle- France, and a popular read among the noblesse, ecclesiastics, and pious Christians of the kingdom. Today they form an essential collection of primary sources that continue to provide a doorway into the earliest days of Canada's history. Identifying this rhetoric throughout the narratives, this study endeavours to provide a deeper historical understanding of these Relations by contextualising their content within the particular all-encompassing religious worldview of the authors who wrote them. The religious imaginations of these Jesuit authors, Paul Le Jeune (1591-1664), Jean de Brébeuf (1593-1649), Françoise-Joseph Le Mercier (1604-90), Barthélemy Vimont (1594-1667), Jérôme Lalemant (1593-1673), Isaac Jogues (1607-1673) and Paul Ragueneau (1608-1680), thus gives birth to a rhetoric in the Relations that presents Nouvelle-France as a land filled with Amerindian peoples who would only truly embrace Christianity if all of the missionaries lovingly offer their lives to Jesus Christ; just as He had done for the salvation of the entire world from sin and evil. They do so by placing their efforts on a metaphysical plane. There, the missionaries are presented as having been invited by God to join Christ crucified on a mission into a land filled with suffering and death. Where the Amerindians they evangelise must choose between a barbarous life of selfish material interest that is thought to imbue their traditions and a more human life of self-offering modelled on the Christian God. At the same time Satan, the devil, labours hard not to lose his grip on a part of the world that was as yet unaware of its true divine origins. The 'divine', the 'missionary', 'Satan', and the 'Amerindians', locked in this cosmic battle for souls that can only be won through a self-sacrificing union with Jesus Christ, combine to form the rhetoric of martyrdom in the narratives that reaches its summit as the authors describe the murders of eight of their fallen comrades, tortured and killed by some of the very people they had come to evangelise. This rhetoric, present throughout the narratives, has yet to be acknowledged, analysed, and interpreted by historians. In doing so, it is hoped that this study will deepen any reading of the Relations, advancing our understanding of their full import for both the early modern and the present-day reader.
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McCluskey, Phil. "French military occupations of Lorraine and Savoie, 1670-1714." Thesis, St Andrews, 2009. http://hdl.handle.net/10023/712.
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Thiébaud, Jane Rather. "Madame de Rambouillet's Chambre Bleue [Blue Room]: Birthplace of Salon Culture." Fogler Library, University of Maine, 2007. http://www.library.umaine.edu/theses/pdf/ThiebaudJR2007.pdf.
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Nelson, Eric W. "The king, the Jesuits and the French Church, 1594-1615." Thesis, University of Oxford, 1998. http://ora.ox.ac.uk/objects/uuid:78447dd8-1dbb-4a2f-8aee-f964c293faa9.
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This thesis offers a re-examination of the expulsion, return and subsequent integration of the Jesuits into France during the reign of Henry IV and the regency of Marie de Medicis (1594- 1615). Drawing on archival material from Paris, Rome and London, it argues that in order to understand the Society of Jesus's role in seventeenth- and early eighteenth-century France one must understand the circumstances of their return. The critical moment for the Society in France, this study contends, was the promulgation of the Edict of Rouen in 1603, not their expulsion in 1594. The Edict and the royal goodwill which sanctioned it gave the Society a legal standing in France and established a set of conditions which formed the basis for a new Jesuit role in the French church and wider society. Moreover, the Edict of Rouen was more than just an attempt by Henry IV to bring peace to the Catholic church; it was also an important assertion of royal authority in the French church. Indeed, I argue that the return of the Society exclusively through royal clemency or grâce defined an important alliance between the monarchy and the Jesuits which was to be a significant feature of the French church for more than a century. Although numerous historians have already looked at various aspects of this important topic, this thesis is the first to argue that the most important development of this period for our understanding of the Society's position and role in France was the accommodation of the Society by the French church and French royal administrative structures after the king's will was expressed in 1603. It also asserts that it was the reality of compromise not the rhetoric of conflict which should shape our understanding of the Society's integration into France and their role in the French church in the seventeenth century.
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Musgrave, Elizabeth Caroline. "The building industries of eastern Brittany, 1600-1790." Thesis, University of Oxford, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670351.
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Patterson, Jonathan Hugh Collingwood. "Representations of avarice in early modern France (c.1540-1615) : continuity and change." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610850.
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Delaney, Monique. ""Le Canada est un païs de bois" : forest resources and shipbuilding in New France, 1660-1760." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84504.
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The colonial contribution to the French naval shipbuilding industry in the seventeenth and eighteenth centuries, explored within the context of the forest from which the resources for the industry were taken, was a remarkably successful venture that came to an end with the onset of war. In the past, the end of the French naval shipbuilding industry in New France has been attributed to the action or inaction of France that resulted in the inefficient use of forest resources. Issues of interest in, organization or support of colonial efforts by France, however, were nevertheless, limited by the immutable realities of the colonial forest environment. This thesis argues that the success of the industry, considered within the appropriate context, is a consequence of colonial persistence in the face of constraints imposed by the colonial forest environment---despite these other significant issues.<br>The official correspondence, written by colonial officials in New France, record colonial efforts to supply France with timber and detail the development of a naval shipbuilding industry in the colony. These documents provide source material for a case study that demonstrates the constraints imposed by the colonial forests on the experience of colonists, timber suppliers and shipbuilders. The colonial forest was not the same as the forests in France. A simple transfer of knowledge and practice from one forest to another was insufficient to deal with the differences in climate, forest age, tree species and the extent to which human activity affected the different forests. These differences challenged the way in which colonists could use forest resources for their own needs, for export to France and for naval construction. To consider this use of resources, without considering the differences between the available materials in the colony and those available in France, is to look at the story removed from the setting in which it took place. The unique forest in the colony was the setting in which colonial shipbuilding took place. Any study of the development of this industry, or any other industry that relied on forest resources, must give consideration to the constraints and realities of that forest.
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Fradier, Sophie. "Les frères Souffron (vers 1554-1649) : deux architectes ingénieurs entre Guyenne et languedoc, au temps de l'annexion de la Navarre." Thesis, Toulouse 2, 2016. http://www.theses.fr/2016TOU20125.
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Pierre I (doc. 1599-† 1621/1622) et Pierre II Souffron (1554-† 1649) sont deux frères architectes homonymes, originaires du Périgord, qui furent actifs dans les provinces de Guyenne et Languedoc entre la fin du XVIe siècle et le début du XVIIe siècle. Pierre I, probablement l’aîné de la fratrie, fut architecte et ingénieur des bâtiments de la Maison de Navarre. Installé dans la région de l’entre-deux-mers, il conduisit notamment l’important chantier du château de Cadillac, propriété du duc d’Épernon. Outre le domaine de l’architecture civile, il s’illustra pour des travaux d’ingénierie militaire et hydraulique. Son frère Pierre II fut lui aussi un artiste polyvalent. Son statut de maître architecte de la fabrique de la cathédrale Sainte-Marie d’Auch lui permit d’accéder à des chantiers de grande envergure tel que le Pont-Neuf de Toulouse. Le choix de réaliser une double monographie autour de ces deux personnalités artistiques n’a rien d’anodin, cette thèse permet de révéler qu’au-delà d’une pratique architecturale et d’une culture constructive commune, les frères Souffron bénéficièrent des mêmes réseaux de relations qu’ils mutualisèrent parfois. S’appuyant sur la découverte de sources inédites, la relecture de documents connus et l’examen approfondi de leur œuvre, cette étude se propose de décrire leurs trajectoires professionnelles. Elle montre aussi qu’ils doivent être considérés comme des figures de passeurs entre le milieu royal et la province. Architectes créatifs et talentueux, ils surent emprunter tant aux traditions constructives méridionales qu’aux grands chantiers contemporains et aux modèles à la mode diffusés par les traités de Serlio, Palladio, Vignole, De l’Orme et Bullant. Complétée par un catalogue raisonné, cette thèse est donc un travail inédit portant sur deux architectes provinciaux méconnus qui furent pourtant de grands héritiers de la Renaissance<br>Pierre I (doc. 1599-† 1621/1622) and Pierre II Souffron (1554- † 1649) are two namesake architect brothers, who were active in the provinces of Guyenne and Languedoc at the end of the sixteenth century and at the beginning of the seventeenth century. Pierre I, believed to be the eldest of the brothers, was an architect and engineer for the buildings of the royal House of Navarre. Located in the region of l’entre-deux-mers, he overseed several building sites including the château of Cadillac, property of the duc of Epernon. In addition to civil architecture, he was also known for his skills as a military and hydraulic engineer. His brother, Pierre II was also a multitasking artist. His status as Master Architect of the guild of the Saint-Marie cathedral of Auch enabled him to gain access to greater projects such as the Pont-Neuf of Toulouse. The decision to carry out a double monograph of these two artistic identities is far from innocuous, as this thesis reveals that beyond of their common practice of architecture and knowledge of their craft, the Souffron brothers benefited and often shared the same social networks. Based on the discovery of unpublished primary sources, the reinterpretation of other well-known documents and an extensive study of their works, this thesis follows their different career paths by taking into consideration that they both acted as purveyors of ideas between the royal milieu and the provinces. Creative and talented architects, they not only cleverly borrowed southern constructive traditions but were also inspired by contemporary building sites and fashionable architectural treatises such as those by Serlio, Palladio, Vignola, De l’Orne and Bullant. Completed by the catalogue raisonné, this novel thesis therefore sheds light on how these two unknown provincial architects were in fact the heirs of the Renaissance
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Runyan, Aimie Kathleen. "Daughters of the King and Founders of a Nation: Les Filles du Roi in New France." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28470/.
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The late seventeenth century was a crucial era in establishing territorial claims on the North American continent. In order to strengthen France's hold on the Quebec colony, Louis XIV sent 770 women across the Atlantic at royal expense in order to populate New France. Since that time, these women known as the filles du roi, have often been reduced to a footnote in history books, or else mistakenly slandered as women of questionable morals. This work seeks to clearly identify the filles du roi through a study of their socioeconomic status, educational background, and various demographic factors, and compare the living conditions they had in France with those that awaited them in Canada. The aim of this undertaking is to better understand these pioneer women and their reasons for leaving France, as well as to identify the lasting contributions they made to French-Canadian culture and society.
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Comtois, Maud. "Corps dressé : la représentation corporelle de l'honnête homme dans les traités de civilité au XVIIe siècle." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99583.
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The ideal of honesty proposed by civility treaties results from the social and political reorganization orchestrated by Louis XIV's desire to assert his authority and impose a court ritual. Court treaties, like Antoine de Courtin's Le Nouveau traite de la civilite qui se pratique en France parmi les honnetes gens (1671), pass on an ideal of social behaviour in which the appearances are meticulously planned. Based on the principle that the physical appearance is a reflection of the inner self, the body is of great importance in honesty. Propriety books codify gestures and indicate the best attitude, outfit, posture and gait to single out an "honnete homme" from the mass. In order to respect the social standards, he moulds himself an exterior image and, in doing so, he establishes a difference between the public character and the private man. The representation of the body necessarily affects the creation of the "honnete homme"'s personality, which presents many traits of a modern identity.
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Ledbetter, David. "Harpsichord and lute music in seventeenth-century France : an assessment of the influence of lute on keyboard repertoire." Thesis, University of Oxford, 1985. http://ora.ox.ac.uk/objects/uuid:525956f0-fd49-4649-94e5-c52ad46221cb.
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The view that the lute exercised an important influence on the formation of French harpsichord style in the seventeenth century is a commonplace of musicology which has not until now been thoroughly investigated. This thesis is an attempt to determine the nature of that influence taking into account as much of the available relevant material as possible. The first chapter outlines the status and function of stringed keyboard instruments, particularly in the late sixteenth and early seventeenth centuries, using a wide variety of non-musical sources whether literary, archival, or documentary. It also charts the relative standing of the two instruments and the interrelationship of their repertoires as viewed by contemporaries throughout the seventeenth century. The second chapter provides a survey of the evolution of French lute style based on a detailed study of most of the French lute sources from the period cl600-cl670 and including the more important sources from cl670-cl700. The third chapter presents detailed comparisons of individual works existing in versions for both lute and keyboard. These are based on numerous parallel transcriptions presented in the second volume. The material for this section is provided by a concordance file for virtually all French seventeenth-century lute sources designed to be usable in conjunction with Gustafson's keyboard catalogue. The final chapter is an attempt to define the degree of affinity existing between particular features of the central harpsichord style and that of the lute on the basis of principles established in the previous discussions. This thesis contains the first detailed discussion of the works of the principal seventeenth-century French lutenists in the context of a survey of the general development of the lute style. Numerous illustrative examples of hitherto unpublished lute music are included in the second volume. The final chapter also discusses some new sources of French harpsichord music dating from the late sixteenth and early seventeenth centuries, with transcriptions. Also discussed for the first time is the Premier Livre (1687) of Elizabeth Jacquet de la Guerre, and a transcription of a suite supposedly written in imitation of the lute is given. A comprehensive concordance of pieces existing in versions for both lute and harpsichord is given in Volume II.
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Fitzgerald, William Richard. "Chronology to cultural process : lower Great Lakes archaeology, 1500-1650." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39234.
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The lack of a chronological framework for 16th and 17th century northeastern North America has impeded local and regional cultural reconstructions. Based upon the changing style of 16th and early 17th century European glass beads and the settlement patterning of the Neutral Iroquoians of southern Ontario, a chronology has been created. It provides the means to investigate native and European cultural trends during that era, and within this dissertation three topics are examined--the development of the commercial fur trade and its archaeological manifestations, an archaeological definition of the Neutral Iroquoian confederacy, and changes in European material culture recovered from pre-ca. AD 1650 archaeological contexts throughout the Northeast.
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Staquet, Anne. "Descartes et le libertinage." Doctoral thesis, Universite Libre de Bruxelles, 2007. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210696.
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Preyat, Fabrice. "Le Petit Concile et la christianisation des moeurs et des pratiques littéraires sous Louis XIV." Doctoral thesis, Universite Libre de Bruxelles, 2001. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211493.
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Carrell, Toni L. "From forest to fairway : hull analysis of 'La belle', a late seventeenth-century French ship." Thesis, University of St Andrews, 2003. http://hdl.handle.net/10023/2798.
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This thesis is a comprehensive analysis of the hull remains of La Belle, a ship wrecked off the coast of Texas in 1684 during the failed attempt by Robert Cavelier Sieur de La Salle to establish a colony at the mouth of the Mississippi River. The analysis of La Belle's hull focused on five research goals. The first was to reconstruct the conception and design of the hull. Because La Belle was built on France's Atlantic coast, it was expected that the ship would fit into Atlantic traditions of shipbuilding. Instead, it exhibits an ancient Mediterranean method known only from Renaissance manuscripts. Until La Belle's discovery no archaeological example associated with this method had been identified. Reconstruction of the lines also revealed the unexpected use of surmarks that reflect a transition from a largely empirical approach to the architecturally-based ship plan. The second goal was the documentation of a previously unstudied ship type, the barque longue, through an analysis and description of the hull's assembly and its comparison to contemporary shipbuilding practices. The third goal was an analysis of newly discovered registries, letters, and documents specific to La Belle that raised fundamental questions regarding the ship's genesis and typological identification. The fourth goal was species identification of the timbers to provide a more detailed picture of forest exploitation and to identify whether Old or New World timbers were used in the repairs noted in the hull. The fifth goal was to obtain information on the origin of the wood through dendrochronological analysis. That analysis raised unexpected questions regarding dating and the possibility of re-use of whole frame sets. Because there are no other investigated late 17th-century shipwreck sites from the Rochefort region with species and dendrochronology data, La Belle has provided a benchmark for these two analyses. These five research foci provide a unique picture of late 17th-century shipbuilding in French Atlantic shipyards and contribute to the study of hull design, ship typology, construction and assembly, wood species use and origin, dendrochronological dating, and timber reuse.
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Read, Nicole Elizabeth. "The Adolescence of France: Teaching for Historical Empathy." Oxford, Ohio : Miami University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1241050971.
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Thomas, Daniel. "Family, ambition and service : the French nobility and the emergence of the standing army, c. 1598-1635." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1914.
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This thesis will contend that a permanent body of military force under royal command, a ‘standing army’, arose during the first three decades of the seventeenth century in France. Such a development constituted a transformation in the nature of the monarchy’s armed forces. It was achieved by encouraging elements of the French nobility to become long-term office-holders within royal military institutions. Those members of the nobility who joined the standing army were not coerced into doing so by the crown, but joined the new body of force because it provided them with a means of achieving one of the fundamental ambitions of the French nobility: social advancement for their family. The first four chapters of this thesis thus look at how the standing army emerged via the entrenchment of a system of permanent infantry regiments within France. They look at how certain families, particularly from the lower and middling nobility, attempted to monopolise offices within the regiments due to the social benefits they conferred. Some of the consequences that arose from the army becoming an institution in which ‘careers’ could be pursued, such as promotion and venality, will be examined, as will how elements of the the nobility were vital to the expansion of the standing army beyond its initial core of units. Chapters Five and Six will investigate how the emergence of this new type of force affected the most powerful noblemen of the realm, the grands. In particular, it will focus on those grands who held the prestigious supra-regimental military offices of Constable and Colonel General of the Infantry. The thesis concludes that the emergence of the standing army helped to alter considerably the relationship between the monarchy and the nobility by the end of the period in question. A more monarchy-centred army and state had begun to emerge in France by the late 1620s; a polity which might be dubbed the early ‘absolute monarchy’. However, such a state of affairs had only arisen due to the considerable concessions that the monarchy had made to the ambitions of certain elements of the nobility.
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Ballon, Hilary Meg. "Architecture and urbanism in Henri IV's Paris : the Place Royale, Place Dauphine, and Hôpital St. Louis." Thesis, Massachusetts Institute of Technology, 1985. http://hdl.handle.net/1721.1/71371.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 1985.<br>MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH.<br>Includes bibliographical references (v. 2, leaves 348-379).<br>This dissertation concerns the extensive building program which Henri IV undertook in Paris from 1600 to 1610. Focusing on the place Royale (now called the place des Vosges) , the place Dauphine, rue Dauphine, and Pont Neuf, and the hôpital St. Louis, this study holds that Henri IV's urbanism was guided by an emerging view of the city as a unified entity. Drawing from newly uncovered notarial documents, the dissertation examines the form and the function of the monuments and argues that each building was embedded in its physical context, engaged in the life of the city, and informed by an underlying urban vision . First, the buildings were not autonomous geometric forms dropped into open spaces; they were conceived as parts of a larger urban composition, structured by axes which linked the monuments to major roads without however diminishing the quality of spatial enclosure which the designs also promoted. Second, the squares and the hospital were each charged with a program anchored in the commercial, social, and sanitary life of the city. The place Royale and place Dauphine were planned as residential and commercial squares to stimulate trade and manufacturing while the hôpital St. Louis was intended to minimize the convulsive effect of the plague on the city. Finally, the dissertation argues that the royal building program was not merely a sequence of unrelated improvements and isolated adornments, but rather a series of coordinated efforts to impose a unifying order on the city. The monuments were assigned functions which addressed the city as a whole . They were physically linked to more distant parts of the city, and they were composed to create grand urban vistas. The urban fabric was no long e r conceived as an accumulation of fragments contained within the walls; it was understood as a cohesive network with its own internal order.<br>by Hilary Meg Ballon.<br>Ph.D.
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Dégez, Camille. "Une société carcérale : la prison de la Conciergerie (fin XVIe-milieu XVIIe siècles)." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040156.
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La prison de la Conciergerie occupe une place particulière dans le paysage pénitentiaire parisien du XVIIe siècle. Elle accueille de nombreux prisonniers pour dette, les prisonniers jugés en première instance par l’une des juridictions siégeant dans Palais de la Cité, dont elle occupe les bâtiments, mais aussi et surtout les prisonniers en appel devant le parlement de Paris. A partir de l’analyse de parcours individuels de prisonniers et de personnels de la Conciergerie (les dynasties de concierges Regnoust et Dumont), reconstitués grâce aux archives criminelles et notariales, la thèse porte sur les relations sociales et les comportements au sein de la prison. Après une première partie consacrée à un état des lieux de la Conciergerie au début du XVIIe siècle, la deuxième partie met en avant les particularités de sa société carcérale : moins séparée du monde extérieur que les prisons actuelles, elle reproduit à petite échelle la société parisienne. Plutôt que sur une distinction rigoureuse entre hommes et femmes et entre catégories criminelles, son organisation est fondée sur la position sociale et la richesse. Les prisonniers régulent eux-mêmes leurs conflits, le plus souvent sans faire appel au personnel. Quant à l’univers socio-professionnel des gardiens, il ressemble beaucoup à celui des métiers parisiens par les relations à la fois solidaires et hiérarchisées entre le concierge et ses guichetiers et morgeurs. La troisième partie porte sur « l’aventure de l’évasion », révélatrice de l’importance du contexte social et culturel dans la décision, la préparation et l’exécution d’une telle entreprise<br>The prison of the Conciergerie occupied a special place in the Paris prison landscape of the seventeenth century. It hosted many prisoners for debt, prisoners tried in first instance by one of the courts sitting in the Palais de Justice, which occupied the buildings, but also and above all the prisoners appealed to the parliament of Paris. From the analysis of individual pathways both of prisoners and staff of the Conciergerie (dynasties of chief jailers Regnoust and Dumont) and reconstituted from criminal and notarial archives, the thesis focuses on social relationships and behavior within the prison. After a first part dedicated to an overview of the Conciergerie in the early seventeenth century, the second part highlights the peculiarities of this prison society: less separated from the outside world that the current prison, it played small-scale Parisian society. Rather than on a rigorous distinction between men and women and between criminal groups, the organization was based on social status and wealth. Prisoners regulated their own conflicts, often without involving staff. As for the socio-professional world of guards, it resembled that of the Parisian business relations, involving both solidarity and hierarchy between the jailers. The third part focuses on "the adventure of escape", revealing the importance of social and cultural context in the decision, preparation and execution of such an undertaking
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Girard, Laura. "L'architecture en briques en Midi toulousain (1910-1947) : les architectes face au renouvellement technique et culturel." Thesis, Toulouse 2, 2019. http://www.theses.fr/2019TOU20032.
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Le XXe siècle est un siècle de mutations, à la fois dans la conception des espaces et dans la novation technique. Les matériaux et les procédés de mise en œuvre se développent, issus de recherches scientifiques et d’applications industrielles. Il se joue alors une transformation matérielle et culturelle de la société par l’architecture, où la novation technique cohabite avec les méthodes de construction traditionnelle, où les nouvelles constructions dialoguent avec les édifices du passé. Comment un matériau ancestral, donné par le site, appartenant à l’histoire du lieu, est-il réinvesti dans la conception architecturale nouvelle, dans un contexte culturel, économique et industriel spécifique ? Appliqué au Midi toulousain, comment la brique de terre cuite a-t-elle perduré et a-t-elle été réinvestie dans des projets contemporains durant le XXe siècle ? La thèse de doctorat en architecture se propose de répondre à cette problématique au travers de la novation de la brique de terre cuite en Midi toulousain, dans l’entre-deux-guerres élargi, 1910-1947. Cette période présente des contextes ambivalents voire duels : une production entre industrielle, semi-industrielle et artisanale, un contexte culturel entre aspirations modernes, et nouvelles, et régionalisme, et repli sur soi, et un contexte architectural qui oscille aussi entre nouveaux matériaux, avec l’usage croissant du ciment armé, et matériaux rustiques et bruts hérités de la tradition. La question de recherche que la thèse entend développer est la suivante : dans le Midi toulousain, où la brique est couramment employée depuis l’Antiquité, comment s’exprime, dans l’entre-deux-guerres, les valeurs de modernité et de nouveauté dans les projets des architectes ?<br>The 20th century was a century of change, both in terms of spatial design and in terms of technical innovation. Materials and their utilization processes for evolved through scientific research and industrial application. Overall, a material and cultural transformation was taking place, with technical innovation coexisting with traditional construction methods, and with new constructions in constant dialogue with buildings from the past. Following these observations, a number of questions emerges: How is an ancestral material, given by the site and belonging to the history of the place, reinvested in the new architectural design; more so, in a particular cultural, economic and industrial context? Looking at the context of the Midi Toulousain, how did the terracotta brick persist and get reinvested in contemporary projects during the 20th century? This doctoral thesis in Architecture attempts to respond to these questions through an exploration of the innovation around the terracotta brick in the Midi Toulousain, in the enlarged interwar period between 1910 and1947 – r a period of several contradictions: : a production situated between industrial, semi-industrial and craftsmanship; a cultural context situated between modern aspirations, , and regional, inwards with drawl; , an architectural context that oscillates between new materials, with the increasing use of reinforced cement, and rustic,raw materials inherited from tradition. The research question of the thesis is as follows: in the Midi Toulousain, where the terracotta brick has been widely used since the Antiquity, how is modernity and novelty expressed in architectural projects of the architects in the interwar period?
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Guérinot-Nawrocki, Sophie. "Les réseaux d’information et la circulation des nouvelles autour de l’exil de Marie de Médicis (1631-1642)." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040088.
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En 1631, Marie de Médicis (1573-1642), reine de France, opposée à la politique de Richelieu, quitte précipitamment le royaume pour trouver refuge à la cour de Bruxelles. Jusqu’à sa mort en 1642, elle ne réussit jamais, malgré maintes tentatives, à rentrer en France. Elle vit dans les Pays-Bas espagnols jusqu’en 1639, puis, après un bref passage dans les Provinces-Unies, à Londres jusqu’en 1641, pour finir ses jours à Cologne. Alors que la guerre de Trente ans déchire l’Europe, Marie de Médicis tisse des liens avec les princes, mais aussi avec d’autres émigrés français, tels que Gaston d’Orléans ou la duchesse de Chevreuse. A travers cette situation exceptionnelle, nous étudions les réseaux, officiels ou secrets, qui se font et se défont autour de ces émigrés. La mise en place des réseaux et leur bon fonctionnement sont assurés par des hommes, ambassadeurs, courtisans, serviteurs, qui ont chacun des profils et des ambitions différents. Leurs histoires individuelles permettent de restituer la logique organique de cet ensemble complexe et mouvant à travers lequel circulent des nouvelles. Celles-ci sont analysées du point de vue matériel de leur support et de leur acheminement, mais aussi en fonction de leur contenu, qui varie selon les circonstances et les tensions politiques du moment. La circulation et les mutations de l’information ont sur la diplomatie des incidences qu’il faut évaluer. De plus, elles reflètent des idées politiques et révèlent des codes, des symboles, des représentations et des comportements particuliers. La mise en scène de l’information devient alors un objet d’étude fondamental<br>In 1631, Mary de’ Médici (1573-1642), queen mother of the French king, opposed to Richelieu’s government, precipitately leaves the kingdom to find shelter at the court of Brussels. Until her death in 1642, she never succeeds, in spite of many attempts, to be allowed to come back to France. She lives in the Spanish Netherlands from 1631 to 1639. Then, after a short passage through the United Provinces, she stays in London until 1641, to move out again to Cologne, where she finally dies. Whereas the Thirty Years War tears Europe to pieces, Mary de’ Médici weaves bonds not only with foreign princes, but also with other French banned emigrants, such as Gaston of Orleans or the duchess of Chevreuse. The study of this outstanding situation reveals official or secret networks, which are built up and undone around those emigrants. The making and good working of those networks are ensured by a pool of ambassadors, courtiers, servants, who have various profiles and follow different purposes. By rebuilding the individual stories of these men, we can disclose the organic logic of this complex and moving party, in which the news arise and flow. We try to provide an analysis from the point of view of the material support and routing of information, but also according to its content, which may vary following the peculiar circumstances and political issues. The circulation and changes of the news affect the diplomatic deeds in a way that must be investigated and explained. Moreover, information, as a mirror of political thoughts, is reflecting codes, symbols, representations and behaviors. Therefore, the setting and showing of information can be seen as a significant matter for political studies
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Mathis, Thierry. "Le clavecin en France aux XVIIe et XVIIIe siècles : découvertes organologiques et nouvelles techniques de l’interprétation." Thesis, Strasbourg, 2013. http://www.theses.fr/2013STRAC011.
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La musique française pour clavecin des XVIIe et XVIIIe siècles est-elle jouée de nos jours telle qu’elle devrait l’être ? De quelles sources disposent musicologues et musiciens pour approcher au plus près l’authentique sonorité du clavecin, la technique de son jeu, et la compréhension de son répertoire ? Cette approche nous a conduit à discerner neuf points déterminants, essentiels à la compréhension de la facture du clavecin. La mesure d’octave des claviers français de l’époque était inférieure à celle des instruments des pays voisins, et notamment inférieure à celle appliquée dans la facture de nos jours. Pour mémoire, cette mesure conditionne l’écartement entre le pouce et l’auriculaire, lequel écartement influence le jeu. Si l’écart est de moindre taille, les doigts sont plus rapprochés, et de ce fait, la main gagne en décontraction. Le jeu à la française se distingue aussi depuis ses origines par l’extrême souplesse de l’harmonisation, le peu de tension des cordes et le diapason bas (le La3 à 392 – 406 Hz). Par ailleurs, nous avons pu révéler l’existence de clavecins à trois claviers, la présence du seize pieds et du jeu nasal dans certains instruments (alsaciens notamment), et la paternité française de l’éclisse courbe en forme de « S ». Concernant les claviers, l’évolution de l’ambitus de l’instrument depuis le début du XVIIe jusqu’à la fin du XVIIIe siècle est bien connue des musicologues et des musiciens. Toutefois, aucune étude de cette évolution n’a été réalisée pour démontrer l’élargissement des claviers depuis le premier livre imprimé en 1670, les pièces de clavecin de Chambonnières, jusqu’à l’ambitus définitif des cinq octaves imposées dans les pièces de clavecin en concerts de Rameau en 1741. Notre étude s’est également étendue aux cordes, par la vérification de leur épaisseur et des matières dont elles étaient faites. Il s’avère que les facteurs de l’époque utilisaient des diamètres inférieurs à ceux des cordes actuelles, et qu’elles n’ont jamais été en cuivre dans les basses. Seul le laiton à forte teneur en cuivre était considéré comme satisfaisant pour la sonorité des cordes les plus graves. Quant aux cordes des trois cinquièmes supérieurs du clavier, elles étaient faites en fer mou qui n’avait qu’une faible tension. Il va sans dire que l’acier, employé de nos jours, était inconnu à cette époque. Enfin, il est admis aujourd’hui que le clavecin, une fois le tempérament posé, s’accorde en octaves pures, alors qu’il en était tout autrement au XVIIIe siècle, ainsi que nous l’avons établi à travers un texte de Corrette<br>Is French harpsichord music of the 17th and 18th centuries played today as it should be ? What sources can help musicologists and musicians to reproduce the authentic harpsichord sound and playing techniques of that epoch, and understand its repertoire, as faithfully and fully as possible ? The mere fact that this music went unplayed for so long prompts that question. In fact, the harpsichord was forgotten overnight. The favoured instrument of court and fashionable society under the ancien régime, it had aristocratic associations which doomed it when the Revolution came. A century later, in June 1889, the noble, silvery sound of its plucked strings made a first, hesitant comeback, thanks to Louis Diémer. But it was only in the 20th century, between the two world wars, that Wanda Landowska’s tireless enthusiasm gave this baroque keyboard instrument a new lease of life. Interest in building “old-style” harpsichords, using traditional techniques, first developed in the late 1950s, and their popularity has grown steadily ever since. Today’s enthusiasts want to go back to the origins, and revive old ideas and techniques, but they still have a long way to go. At an earlier stage, techniques used in making pianos were extended to harpsichords - and some of these “alien” elements and additions are still present. We felt the time had come to clarify the picture by consulting certain contemporary texts, which had been unduly neglected. We found indeed that these were at odds with twentieth- century improvements, had been mistranslated or misunderstood, or were, quite simply, hard to find.Anyone wishing to form an idea of the original harpsichord sound must start with organology, and the various instruments used by French musicians in the 17th and 18th centuries offer valuable clues. X-ray examination reveals their design and shows how they were regulated (keys, jacks, plectra).Thanks to this approach, we have identified nine essential factors which illuminate the design and construction of these instruments. French manuals of the time had a narrower octave span than those of instruments made in neighbouring countries - or today. Span, of course, determines the distance between thumb and little finger, which itself affects playing. The smaller the gap, the closer the fingers, and the more relaxed the hand. From the beginning, the French sound was also distinguished by its highly flexible harmonies,low-tension strings and low pitch (A3 at 392-406 Hz.). We also found that some harpsichords had three manuals, that some (particularly Alsatian instruments) had 16 foot stops and a lute stop, and that the S-shaped bentside was a French innovation. Musicologists and musicians already know in general terms how manuals evolved from the early 17th to the late 18th century, but no specific research has been done on the process by which they became wider, between 1670, when the first book, Chambonnière’s Pièces de clavecin, was published, and 1741, when Rameau’s Pièces de clavecin en concerts made five octaves the norm.We have also studied strings, their thickness and the materials of which they were made. We have found that string diameter was smaller than it is now, and that bass strings were never made of copper. Only brass with high copper content was thought to give the deeper strings a satisfactory sound. Strings on the upper three-fifths of the manual were made of soft iron, which had little tension. Steel, which is used today, was obviously unknown.Finally, harpsichords, once their temperament is established, are today tuned in pure octaves –which, as a text by Corrette has shown us, was far from being the case in the 18th century
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Bigonville, Delphine. "Association des idées et intuition: la réponse des architectes anglais à la Querelle des Anciens et des Modernes." Doctoral thesis, Universite Libre de Bruxelles, 2011. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209775.
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Ce travail s’intéresse au problème de la relativisation de l’expression architecturale liée à la remise en question, durant le XVIIe siècle, de l’origine divine et de la valeur des canons proportionnels qui sous-tendent la tradition classique. Emblématique de la Querelle qui opposa Claude Perrault et François Blondel au sein de l’Académie royale de Paris, ce problème recevra une formulation privilégiée dans la tradition théorique anglaise qui se caractérise par la volonté de préserver une forme d’objectivité à l’expression formelle tout en cherchant à y intégrer la valeur subjective de l’usage. A travers l’étude de textes esthétiques et de théories d’architecture produits en Angleterre durant le XVIIIe siècle et le début du XIXe siècle, nous avons cherché à identifier les différentes solutions proposées par les théoriciens pour parvenir à concilier le sujet et l’objet dans la forme architecturale et ainsi aboutir à une expression qui autorise l’appropriation individuelle tout en satisfaisant à l’impératif du consensus.<br>Doctorat en Histoire, art et archéologie<br>info:eu-repo/semantics/nonPublished
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Silva, Eduardo Rosa da. "Um estudo sobre algumas edições do Tratado da gravura de Abraham Bosse." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21275.
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Previous issue date: 2018-04-11<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>Fundação São Paulo - FUNDASP<br>The objective of this research is to verify, among the traditions related to the treaties and manuals, the pathway of a French treatrise on tecniques of engraving, until Portuguese translation.
It will be investigated the relevance of this work translated into Portuguese with the title Tratado da Gravura à Água-Forte e a Buril e em Maneira Negra com o modo de construir as Prensas Modernas e de Imprimir em Talho-Doce (Treatise of Engraving, Etching, and Mezzotint with the way of building the Modern Presses and Printing Copper Plates), by Priest José Joaquim Viegas Menezes and published in 1801 in the Arco do Cego’s Typography, Lisbon.
The hypothesis that the Portuguese version is based on De la Manière de Graver à L'eau Forte et au Burin, a treatise on French engraving amplified by Charles Nicolas Cochin and edited in the year 1758, guided this study.
This research involved a comparison of Abraham Bosse's original treatise of 1645 with the three subsequent French editions, 1701, 1745, 1758, and the edition produced in Portugal in 1801.
The changes and updates in relation to the content and the images were analyzed, verifying that the Portuguese edition of 1801 presents few changes in relation to the French text of 1758<br>O objetivo desta pesquisa é verificar dentre as tradições relacionadas aos tratados e manuais, o percurso de uma publicação francesa sobre as práticas artesanais da gravura em metal, até sua tradução realizada.
Será investigada a relevância dessa obra traduzida para o português com o título, Tratado da Gravura à Água-Forte e a Buril e em Maneira Negra com o modo de construir as Prensas Modernas e de Imprimir em Talho-Doce, pelo Padre José Joaquim Viegas Menezes e publicada em 1801 na Tipografia do Arco do Cego.
A hipótese de que a versão portuguesa, se baseia no De la Manière de Graver à L'eau Forte et au Burin, tratado da gravura francês ampliado por Charles Nicolas Cochin e editado no ano de 1758, guiou este estudo.
O caminho desta pesquisa envolveu a comparação do tratado original de Abraham Bosse de 1645, com as três edições francesas subsequentes, 1701, 1745, 1758 e a edição produzida em Portugal em 1801.
Foram analisadas as mudanças e atualizações em relação ao conteúdo e às imagens, verificando-se que a edição portuguesa de 1801 apresenta poucas alterações em relação ao texto francês de 1758
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Lavieille, Géraldine. "L’icône royale : fabrications collectives et usages politiques de l’image religieuse du roi de France au Grand Siècle." Thesis, Lyon, 2016. http://www.theses.fr/2016LYSE3050.
Full textAbstract:
Les transformations qui interviennent en France à la suite des guerres de Religion modifient l’imbrication des sphères politique et religieuse. La scission entre protestants et catholiques, la triple reconstruction religieuse, nationale et étatique, les évolutions des pratiques et croyances religieuses ainsi que la nouvelle vigueur des gallicanismes induisent des mutations dans la dimension religieuse des conceptions du pouvoir royal entre le règne d’Henri IV et celui de Louis XIV, évolutions appréciables sur le plan symbolique. De 1589 à 1715, une iconographie abondante place le roi dans une situation religieuse, le met en rapport avec des personnages saints ou divins, ou souligne l’importance de son action en matière religieuse. Ces portraits du roi régnant ou de rois défunts, produits en des lieux disséminés sur le territoire métropolitain du XVIIe siècle, révèlent une autre image du pouvoir royal que l’iconographie plus amplement étudiée jusqu’ici. Elle intègre une sacralité héritée, fruit d’une longue construction médiévale dont l’importance se lit toujours au Grand Siècle, et des éléments neufs, qui passent en particulier par l’essor de cultes associant le roi et ses sujets, comme celui de saint Louis ou celui de Marie, marqué par le vœu de Louis XIII. Elle doit en outre se comprendre dans le cadre de l’évolution du droit divin, dans ses rapports avec l’autorité et le pouvoir du roi. L’image d’harmonie qui est élaborée témoigne de la place de cette iconographie dans la légitimation d’un ordre politique et social liant espace terrestre et monde céleste. La genèse de ces objets divers (peintures, sculptures, gravures, etc.), souvent éloignée de la cour, entretenant des relations parfois très ténues avec le pouvoir royal, ne peut être envisagée comme le fruit d’une propagande : elle souligne plutôt des fabrications collectives du portrait religieux du roi. Ainsi, cette thèse propose une histoire culturelle du politique, s’appuyant sur une approche iconographique intégrant les pratiques sociales et les théories politiques<br>The transformations that occurred in France after the Wars of Religion altered the interweaving between the political and the religious spheres. The split between Protestants and Catholics, the rebuilding of the church, the nation and the state, the transformations of the religious beliefs and practices, and the new strength of the gallicanisms led to changes in the religious idea of the royal power between the reign of Henry IV and Louis XIV. These evolutions are assessable on a symbolic level. From 1589 to 1715, an abundant iconography places the monarch in a religious situation, puts him in touch with saints or God, or underlines the importance of his action in the religious field. These portraits of the reigning king or deceased kings, produced in dispatched places in the kingdom, reveal a different image of the royal power than the iconography that has most been studied up to now. It includes an inherited sacrality, built during the Middle Ages and still important in the 17th century, and new elements, which entail the growth of cults associating the monarch and his subjects, such as the cults of saint Louis and the Virgin Mary, marked by the vow of Louis XIII. It must furthermore be understood within the framework of the evolution of the divine right, in its links with the royal authority and power. It builds an image of harmony that shows the place of the iconography in the legitimization of a political and social order linking terrestrial and celestial spaces. The creation of these objects (paintings, sculptures, engravings, etc.), often far away from the court, often in loose relationships with the royal power, cannot be understood as propaganda: it rather emphasizes collective makings of the religious portrait of the king. Thus, this thesis offers a cultural history of the political field, leaning on an iconographic approach including social practices and political theories
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Souchier, Marine. "Le statut de grand dramaturge au XVIIe siècle : Corneille, Racine et Molière, figures vedettes d’une histoire littéraire en construction (1640-1729)." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL121.
Full textAbstract:
Dès la fin du XVIIe siècle, Corneille, Racine et Molière se voient attribuer une supériorité indiscutable sur l’ensemble des autres dramaturges contemporains. Cette hiérarchie dont l’histoire littéraire actuelle a hérité continue à nous faire admettre comme une évidence la précellence accordée à ce trio de « classiques » et les études consacrées aux auteurs dits « mineurs » interrogent rarement le statut d’auteur « majeur ». Nous avons souhaité étudier le processus d’élaboration du statut de grand dramaturge. Cette thèse met ainsi en lumière les différents aspects et manifestations de cette construction, dont elle retrace les étapes du vivant des auteurs — des années 1640 à 1680 —, tout en identifiant les facteurs permettant de comprendre pourquoi ces trois dramaturges bénéficièrent d’un tel statut, au détriment de leurs confrères et concurrents. Ce travail observe ensuite l’immédiate postérité de nos auteurs — des années 1670 à 1720 —, afin de montrer comment la hiérarchisation et la classification à l’œuvre dans le double processus de majoration et de minoration desdramaturges posent les bases de l’histoire du théâtre français. Pour comprendre la constitution du panthéon des grands dramaturges, nous analysons les mécanismes d’écriture de l’histoire du théâtre dit « classique » et faisons émerger le processus de mythification qui préside à l’apparition de la « triade sacrée » Corneille- Racine-Molière. Nous expliquons alors comment l’histoire du théâtre français s’écrit à la gloire de ces auteurs, à partir et autour de leurs trois figures, classicisées et transformées en symboles du « siècle de Louis XIV »<br>From the late 17th century, Corneille, Racine and Molière are given an undeniable superiority over all other contemporary playwrights. This hierarchy, from which current literary history has inherited, continues to make us consider the pre-eminence granted to this “classical” trio as obvious and the studies devoted to the so-called “minor” authors rarely question the “major” author status. Our goal has been to study the elaboration process of the great playwright status. Thus, this PhD thesis highlights the different aspects and manifestations of this construction, retracing its stages during the authors’ lifetime — from the 1640s to the 1680s — while identifiying the factors allowing to understand why these three playwrights were given such a status, at the detriment of their colleagues and competitors. Moreover, this work studies our authors’ immediate posterity — from the 1670s to the 1720s — in order to show how the hierarchy and classification at work in the “majoration” and “minoration” process lay the foundation of French theater history. To understand how the great playwrights’ pantheon was built, we analyze the writing mechanisms of “classical” theater history and bring out the process of mythification that leads to the birth of the “sacred triad” Corneille-Racine-Molière. We then explain how the French theater history is written in praise of these authors, from and around their three figures, classicized and converted into symbols of “the age of Louis XIV”
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Schneider, Marlen. "„Belle comme Vénus‟ : das portrait historié zwischen Grand Siècle und Zeitalter der Aufklärung." Thesis, Lyon 2, 2015. http://www.theses.fr/2015LYO20031.
Full textAbstract:
Très apprécié et répandu pendant la deuxième moitié du XVIIe siècle et les premières décennies du XVIIIe, le portrait historié fut un phénomène caractéristique de la société de cour, révélateur des pratiques artistiques et culturelles de ce milieu. Partout en Europe et surtout en France, l’élite sociale se faisait peindre en costume de fantaisie mythologique ou historique par des peintres célèbres tels que Nicolas de Largillierre, Pierre Gobert, François de Troy, Jean-Marc Nattier ou Jean Raoux. Figurant encore parmi les desiderata de l’histoire de l’art, l’étude scientifique exhaustive du portrait historié peut toutefois contribuer à la recherche sur le portrait français de l’Ancien Régime en général. Afin de définir la place particulière qui prenait ce type de portrait dans le monde artistique, culturel et sociale de l’époque, nous avons établi une historiographie qui tient compte 1) des innovations iconographiques et formelles du genre, 2) des rapports culturels changeants de ces portraits, 3) de leurs fonctions sociales, et 4) des réactions du public et de la critique d’art à partir du milieu du XVIIIe siècle. Face au discours des Lumières et avec la crise de la monarchie absolutiste en France, ses expressions culturelles et artistiques perdirent leur légitimation, et notamment le portrait historié, étroitement lié aux principes mêmes et aux convictions de la société de cour<br>The portrait historié was one of the most characteristic and revealing phenomena of French court society, closely relying on this particular milieu’s artistic and cultural practices, and was thus very much appreciated during the second half of the seventeenth century and the first decades of the eighteenth century. Members of the social elites all over Europe and especially in France chose to sit in mythological or historicized costumes for renowned artists such as Nicolas de Largillierre, Pierre Gobert, François de Troy, Jean-Marc Nattier or Jean Raoux. An extensive study of this particular kind of portraiture, which is still one of the desiderata in art historical research, might generally contribute to scientific research on French portraits from the Ancien Régime. In order to define the artistic, cultural and social impact and status of portraits historiés, the thesis examines the institutional, iconographic and formal evolution of the genre, its cultural context and influences, its social functions, as well as its reception in 18th century public sphere and especially in the context of enlightened discourse. Resulting from the moral and esthetic principles of court society, these cultural and artistic expressions derived from the absolutist French monarchy lost their legitimation during a period of political and social change and revolution
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Aznar, Daniel. "Cataluña y el rey. Representaciones y prácticas de la Majestad durante el cambio de soberanía (1640-1655)." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/667416.
Full textAbstract:
La integración de Cataluña en la monarquía francesa en 1641 abrió un período de convivencia entre dos mundos políticos. Para Francia, la incorporación de la nueva provincia tiene lugar en una sociedad enamorada del heroísmo. El reinado de Luis XIII parece ser la culminación de un proceso de reformulación del paradigma heroico: un modelo político y un referente ético nobiliario. La Guerra de España llevó la cultura heroica a su clímax. En particular, la proclamación del rey como soberano de Cataluña abre nuevos horizontes a este mundo imaginario, que moviliza también a los antiguos referentes mesiánicos.
La historia de la compañía catalana producida por el séquito real ofrece una nueva perspectiva sobre la construcción de la imagen de Luis XIII. El horizonte catalán "completa" la construcción de su perfil heroico, y sirve de apoteosis, valorando el hecho de una muerte "sacrificial" como consecuencia de la presencia real en la sede de Perpiñán.
Los virreyes se convertirán también en el centro de una narrativa heroica, protagonistas de una verdadera "epopeya catalana". Las luces y sombras de esta heroica experiencia política aparecen en el destino a veces trágico de estos representantes del rey, que deben hacer frente, además de a los retos militares y políticos de su cargo, a los equilibrios de poder en la corte.
Por el lado catalán, la llegada de Luis XIII forma parte de la dinámica "revolucionaria" que se inició en 1640, cuando los líderes de la revuelta, que querían ser fieles al rey Felipe IV, formularon una historia capaz de domar acontecimientos que a veces se les escapaban. El horizonte de una providencial "restauración" de Cataluña está cerca. El "momento" republicano parece imposible de encontrar aquí, entre la interrupción formal de la jurisdicción de un rey y la aclamación del otro. A partir de entonces, un discurso providencial de restauración de la provincia se desarrolló a través de la realeza encarnada por un nuevo príncipe "mesías". La imagen del rey se convierte en un ideal sobre el que se proyectan expectativas políticas y por el que los propios líderes de la "revuelta" buscan justificarse. El rey se perdió la visita a Barcelona, justo antes de su muerte. El funeral real servirá para cristalizar esta historia y ofrecerá, a través de la imagen del rey "sacrificado" y "canonizado", un emblema del régimen francés en Cataluña.<br>L’intégration de la Catalogne dans la monarchie française, en 1641, ouvre une période de coexistence de deux univers politiques. Pour la France l’incorporation de la nouvelle province intervient dans une société éprise d’héroïsme. Le règne de Louis XIII apparaît comme la culmination d’un processus de reformulation du paradigme héroïque: modèle politique et référent étique nobiliaire. La guerre espagnole porte la culture héroïque à son paroxysme. Singulièrement la proclamation du roi comme souverain de Catalogne ouvre des nouveaux horizons à cet imaginaire mobilisant aussi des référents messianiques anciens.
Le récit de l’entreprise catalane produit par l’entourage royal offre un nouveau regard sur la construction de l’image de Louis XIII. L’horizon catalan «achève» la construction de son
profil héroïque, et lui sert d’apothéose, valorisant le fait d’une mort «sacrificielle» conséquence de la présence royale au siège de Perpignan.
Les vice-rois deviendront aussi le centre d’un récit héroïque, protagonistes d’une vraie
«épopée catalane». Les lumières et les ombres de cette expérience héroïque du politique apparaissent dans le destin, parfois tragique, de ces représentants du roi, qui doivent faire face, outre aux défis militaires et politiques relevant de sa charge, aux equilibres de pouvoir à la cour.
Du côté catalan l’avénement de Louis XIII s’inscrit dans la dynamique «révolutionnaire» entamée en 1640. Le meneurs de la révolte, qui se veulent fidèles au roi, Philippe IV, formuleront un récit capable d’apprivoiser des événements parfois leur échappant. L’horizon d’une «restauration» providentielle de Catalogne intervient. Le «moment» républicain semble ici introuvable, entre l’interruption formelle de la juridiction d’un roi et l’acclamation de l’autre. Des lors se développe un discours providentiel de restauration de la province à travers la royauté incarnée par un nouveau prince «messie». L’image du roi devient un idéal sur lequel l’on projette les attentes politiques et par lequel les propres dirigeants de la «révolte» cherchent à se justifier. La visite manquée du roi à Barcelone, précédée de peu à sa mort. Les funérailles royales serviront à la cristallisation de ce récit, et offriront par l’image du roi «sacrifié» et «canonisé», un emblème pour le régime français en Catalogne.<br>The integration of Catalonia into the French Monarchy, in 1641, opens a period of coexistence of two political universes. In France, The incorporation of the new province arrives in a social context under the influence of an strong culture of heroism. Under Louis XIII’s reign culmines a processus of reformulation of the heroic paradigm: a political model of gouvernement and an ethical referent for the French nobility. The heroic culture is taken to its paroxysm when the Spanish war begins. Specially the proclamation of the king as sovereign of Catalonia opens new horizons for this imaginary, mobilizing also old messianic referents.
The narrative of the catalan entreprise developed by the royal entourage offers a new perspective of the Louis XIII’s image making processus. The catalan completes the built of the king’s heroical profile, and serves to make his apotheosis, emphasizing the fact of a sacrificial death as a consequence of the royal presence in the Perpignan’s siege.
Vice-rois become the center of an heroical narrative also. They are protagonists of a true
«catalan epic». The lights and darkness of this heroical experience of Politics, appear throw the destiny, sometimes tragic, of these king’s agents (and images). They have to face, besides the military and political challenges, to the power’s struggles at court.
By the catalan side, the accession of king Louis XIII has to be considered in the «revolutionary» context of 1640. The leaders of the revolt, who revendique to be loyal to their king, Philip IV, build a narrative able to tame serious adverse events, that sometimes escape to their control. The horizon of a providential «restauration» of Catalonia appears in this narrative. Republican time seems here «introuvable», between the broken of one king’s jurisdiction and the other king proclamation. Since then a providential propaganda speech about the restauration of the Principality throw a royalty incarnated by a new prince «messiah». The new king’s figure becomes one idealized image where Catalans look to project their political expectatives. Also a way for the catalan leaders to justify himself. The failed royal visit to Barcelone precedes for little the king’s death. The royal funerals serves to the crystallization of these narratives: they offer the image of an «sacrificed» king, who is also a saint. He becomes the real emblem of the franco-catalan regime.
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VOSKAMP, Henk. "Peasant revolts reconsidered : South West Germany and Languedoc in the 16th and early 17th century." Doctoral thesis, 1988. http://hdl.handle.net/1814/6011.
Full text
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BELTRÁN, José. "Nature in draft images and overseas natural history in the work of Charles Plumier (1646-1704)." Doctoral thesis, 2017. http://hdl.handle.net/1814/46246.
Full textAbstract:
Defence date: 2 May 2017<br>Examining Board: Professor Ann Blair, Harvard University; Professor Jorge Flores, EUI (supervisor); Professor Juan Pimentel, CSIC (external advisor); Professor Stéphane Van Damme, EUI (second reader)<br>Upon his death in 1704, the Minim friar, botanist to Louis XIV, and intrepid traveler Charles Plumier (1646-1704) left in his Parisian convent a mass of drawings on the flora and fauna of the West Indies. The industrious Plumier was a naturalist with inky fingers: his firsthand observations on the Caribbean islands translated into thousands of paper materials extremely heterogeneous in form and content. They encompass exquisite inkand- watercolor pictures and rapidly executed sketches, rough notes and elaborate written descriptions, detailed measurements and interminable lists. For all their diversity, Plumier’s papers bear the common desire to depict, describe, and inventory flowery and non-flowery plants, seeds and leaves, fishes and shells, reptiles and birds—in one word, to capture a faraway nature on paper. “Nature in Draft” mines this exciting and virtually untapped 8,000-page archive, and traces its history from the field, through the often tortuous paths that brought part of it into print, down to its eighteenth- and nineteenth-century afterlives. By paying particular attention to the materiality of Plumier’s corpus and the practices by which it was crafted and subsequently put to use, my aim is to relocate the much-debated notion of “scientific image” within a broader perspective on the working methods and intellectual technologies that underpinned the production and transmission of natural knowledge in France around 1700. Each of the six chapters foregrounds a different aspect of Plumier’s papers. The first two chapters consider the intellectual and political dimensions of the corpus; the third and fourth move towards an in-depth analysis of the archive as a tool for the recording, storing, and management of natural historical information; the last part of the dissertation deals with the transmission and reception of the collection, both in print and through the appropriations and relocations of which it was the object long after the death of the author.
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PIERRE, Benoist. "Les réseaux cléricaux dans la construction de l'état moderne : la congrégation franco-italienne des Feuillants (XVIe-XVIIIe siècle)." Doctoral thesis, 2002. http://hdl.handle.net/1814/5940.
Full textAbstract:
Examining board: M. Anthony Molho (I.U.E.) ; M. Mario Rosa (École Normale Supérieure de Pise) ; M. Bernard Dompnier (Univ. de Clermont-Ferrand) ; Mme Nicole Lemaitre (Univ. Paris-I Sorbonne) ; M. Gérard Delille (I.U.E.)<br>Defence date: 19 December 2002<br>PDF of thesis uploaded from the Library digitised archive of EUI PhD theses completed between 2013 and 2017
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PROSPERI, Laura. "Il cibo del piacere e dell'immortalità : dietetica e procreazione in antico regime (Francia, sec.XVI-XVII)." Doctoral thesis, 2006. http://hdl.handle.net/1814/6341.
Full textAbstract:
Defence date: 2 October 2006<br>Examining board: Prof. Laurence Fontaine (Supervisor EUI), CNRS-EHESS, Paris ; Prof. Allen J. Grieco, Harvard University Center for Italian Renaissance Studies ; Prof. Massimo Montanari, European University Institute<br>PDF of thesis uploaded from the Library digitised archive of EUI PhD theses completed between 2013 and 2017
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"Musical Diversions at the Court of Louis XIV." Thesis, 1998. http://hdl.handle.net/1911/20472.
Full textAbstract:
During the carnival season of 1700, as some of the entertainments at the court of
Louis XIV, there were presented seven mascarades at Marly, a châiteau near Versailles.
The mascarade was a small-scale musical production that combined music and dance and
was influenced by the ballet de cour and later the tragidie-lyrique. They were composed
by André, Anne, and Pierre Philidor who were members of a family dynasty of wind
players connected to the French court for several generations. Sources including the
music, libretti, descriptive journal and diary entries, costume drawings, and related
research allow reconstruction of the mascarades. These sources, especially the survival
of the music in this collection, are important in that they display the type of
musical/theatrical entertainment occurring at the court of Louis XIV. The thesis includes
a modern edition of the music.
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MONTENACH, Anne. "Une économie de l'infime : espaces et pratiques du commerce alimentaire à Lyon au XVIIe siècle." Doctoral thesis, 2003. http://hdl.handle.net/1814/5908.
Full textAbstract:
Defence date: 21 November 2003<br>Examining Board: Mme Françoise Bayard, Prof. émérite à l'Université Lumière-Lyon II ; Mme Laurence Fontaine, Prof. à l'Institut Universitaire Européen de Florence ; M. René Favier, Prof. à l'Université Pierre Mendès France-Grenoble II ; M. Jacques Revel, directeur de l'Ecole des Hautes Etudes en Sciences Sociales<br>First made available online on 12 November 2018<br>Ce travail se proposait à l’origine d’étudier, dans sa complexité, l’approvisionnement d’une grande ville du royaume en lien avec la diversité des consommations alimentaires de ses habitants. De grandes monographies ont été entreprises sur le premier thème, essentiellement dans le cadre parisien1. Quant aux recherches sur le goût et les consommations, elles n ’ont cessé d’occuper, depuis les travaux pionniers de Jean-Louis Flandrin2, un nombre croissant d’historiens, jusqu’à aboutir à la création récente d’un Institut Européen d’Histoire de l ’Alimentation, dont le colloque fondateur s’est tenu à Strasbourg en janvier 2001. L’étude qui suit, dont l ’ambition première était de croiser ces deux axes de recherche, se situe en définitive, au terme d ’une réflexion nourrie autant des apports historiographiques récents que de la richesse des sources lyonnaises, dans l’espace qui, selon le point de vue adopté, les relie ou les sépare. Son objectif est d’appréhender l ’économie urbaine d’Ancien Régime à travers l’analyse d’un commerce aussi banal qu’essentiel, celui de l’alimentation. Dans cette perspective, elle s’attache à démêler, à l’échelle de la cité, l’écheveau des valeurs, des relations et des pratiques qui président à la fabrication, à la circulation et à la consommation des denrées. Parce qu’il est absolument vital pour la population urbaine et représente, de ce fait même, un enjeu essentiel pour les autorités de la cité, le commerce alimentaire constitue un observatoire privilégié à la fois des mécanismes ordinaires de l ’échange dans la ville d’Ancien Régime et des acteurs qui les animent.
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SONKAJARVI, Hanna. "L'étranger et le forain entre inclusion et exclusion : de la cité impériale à la ville de province : le cas de Strasbourg (1681-1789)." Doctoral thesis, 2006. http://hdl.handle.net/1814/5980.
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Defence date: 10 February 2006<br>Examining board: Mme Laurence Fontaine, prof. à l'Institut Universitaire Européen de Florence, directeur de thèse ; M. Heinz-Gerhard Haupt, prof. à l'Institut Universitaire Européen de Florence ; M. Patrick Weil, directeur de recherche au CNRS, Université Paris 1-Panthéon-Sorbonne ; M. Christian Windler, prof. à l'Université de Berne, superviseur externe<br>PDF of thesis uploaded from the Library digitised archive of EUI PhD theses completed between 2013 and 2017
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MATHEVON, Valerie. "Le cérémonial des ambassadeurs : la monarchie française, l'Etat Pontifical et le rituel diplomatique, 1648-1713." Doctoral thesis, 2006. http://hdl.handle.net/1814/5901.
Full textAbstract:
Defence date: 20 January 2006<br>Examining board: Prof. Giulia Calvi, European University Institute ; Prof. Gérard Delille, EUI et Ecole des Hautes Etudes en Sciences Sociales (Supervisor) ; Prof. Marcello Fantoni, Kent University, Florence ; Prof. Gérard Sabatier, Université Mendés France, Grenoble<br>PDF of thesis uploaded from the Library digitised archive of EUI PhD theses completed between 2013 and 2017
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Sureau, dit Blondin Jean-Philippe. "Représentations françaises du rôle des femmes dans l’univers cérémoniel Wendat à l’époque de la Nouvelle-France (1615-1744)." Thèse, 2019. http://hdl.handle.net/1866/23770.
Full textAbstract:
Ce mémoire propose d’analyser les représentations françaises du rôle des femmes dans l’univers cérémoniel wendat à l’époque de la Nouvelle-France. Divisé en deux parties, il explore d’abord les représentations des femmes à l’époque de la France d’Ancien Régime, en se concen-trant d’une part sur les représentations symboliques, puis, d’autre part, sur les perceptions sociales des femmes d’Ancien Régime. Pour ce faire, nous consultons un vaste répertoire d’ouvrages d’histoire socioreligieuse qui permet de pénétrer dans l’épistémè française d’Ancien Régime en ce qui a trait aux représentations des femmes. La deuxième partie est réservée à l’analyse ethno-historique des représentations françaises du rôle de la femme dans l’univers cérémoniel wendat à l’époque de la Nouvelle-France. L’ensemble des écrits français constituant la littérature de con-tact franco-autochtone est utilisé afin d’étudier ces représentations des rituels liés à la « fécondi-té », à la « guérison » et enfin « funéraires ». Au final, l’analyse révèle que, si les observateurs français attestent de l’aspect « complémentaire » et « égalitaire » de la dynamique interaction-nelle genrée gouvernant l’univers cérémoniel wendat, ils étaient incapables d’en capter toute l’ampleur et la valeur d’intégration car ils évaluaient la valeur des comportements cérémoniels wendat selon leur degré d’adéquation ou d’inadéquation au projet de colonisation française et d’évangélisation chrétienne.<br>This thesis proposes to analyze the French representations of the role of women in the Wendat cerermonial universe at the time of New France. Divided into two parts, it first explores the representations of women in France’s Ancien Régime period, focusing on symbolic represen-tations on the one hand and, on the other hand, on the social perceptions of Ancien Régime women. To do this, we consult a vast repertoire of works of socioreligious history which makes it possible to penetrate the French episteme of Ancien Régime regarding the representation of women. The second part is devoted to the ethno-historical analysis of French representations of the role of women in the Wendat ceremonial universe during the New France era. All the French writings constituting Franco-Native contact literature are used to study these representations of rituals re-lated to “fertility”, “healing” and finally “funeral”. In the end, the analysis reveals that, while French observers attest to the “complementary” and “egalitarian” aspect of the gendered interac-tional dynamics governing the Wendat ceremonial universe, they were unable to capture the full extent and value of integration because they assessed the value of ceremonial wendat behaviors according to their degree of adequacy or inadequacy to the project of French colonization and Christian evangelization.
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Gousse, Suzanne. "Le monde de Jean Alexis Lemoine dit Monière, marchand de Montréal au XVIIIe siècle." Thesis, 2020. http://hdl.handle.net/1866/24634.
Full textAbstract:
On s’est intéressé dans les années 1950 à 1970 à la disparition d’une bourgeoisie canadienne qui aurait dû faire la transition du capitalisme marchand vers l’industrie. Les réflexions historiennes avaient cependant commencé par la fin, tentant de définir les conséquences historiques à long terme de la « Conquête » sur un groupe encore mal connu qui, en principe, incluait des marchands.
Notre thèse s’inscrit dans la lignée des travaux états-uniens et européens qui ont permis de revoir, souvent dans une optique culturelle, les marchands occidentaux de l’époque moderne. À partir du cas précis d’un marchand équipeur montréalais et de sa lignée, nous voulons tout d’abord établir si la culture négociante des marchands, au sens large du terme, était du même ordre que celles des métropolitains qui avaient des commerces semblables. Deuxièmement, nous voulons cerner la marge de manœuvre individuelle face aux contraintes des conditions ambiantes ainsi que le rôle des réseaux dans l’évolution de la carrière des marchands. Enfin, nous souhaitons définir la conception de soi de ces derniers, à travers l’examen de leur style de vie et des rôles qu’ils pouvaient jouer dans leur milieu. Pour le faire, nous avons choisi de ratisser « en largeur » dans des sources multiples, y compris des livres de comptes, et de creuser « en profondeur » pour en extraire le maximum de données.
L’enquête a été menée à travers la longue carrière de l’équipeur Jean Alexis Lemoine dit Monière (1680-1754) qui s’est installé à Montréal en 1715. Lemoine est connu de la postérité grâce à l’étude de Louise Dechêne qui l’avait suivi jusqu’en 1725. Elle en a tracé un portrait, amplement repris par la suite, qui a fait de lui l’exemple type de marchand équipeur. Or, Monière n’est peut-être pas typique, il pourrait même être un cas-limite. En le suivant jusqu’à sa mort, nous avons exploré toutes les possibilités qui se sont offertes à lui. Nous avons aussi fait une large place aux legs matériel et immatériel de son père Jean Lemoine, et à ce que Monière a transmis à son fils, Pierre Alexis, ainsi qu’à quelques neveux. En encadrant Monière de son père, immigrant rouennais, de ses frères et de son fils, nous avons pu observer l’émergence d’un métier, celui d’équipeur. Nous avons examiné comment Monière, décédé en 1754, a été préparé à exercer son métier et comment il concevait la pratique de ce dernier. Cette démarche a permis de mieux comprendre la culture (au sens large) des gens de la marchandise au Canada. En utilisant une variété de sources et en faisant appel à une démarche micro-historique, nous souhaitons avoir répondu, vingt-cinq ans plus tard, au vœu de Dale Miquelon de regarder, dans la mesure du possible, le monde de la marchandise avec les yeux des acteurs de la période pour répondre aux interrogations des gens d’aujourd’hui.<br>From the 1950s to the 1970s, historians’ attention was turned towards the disappearance of a bourgeoisie canadienne which should have made the transition from commercial to industrial capitalism. These studies began, so to speak, with the end, in attempting to define the long-term historical consequences of the Conquest on an as-yet ill-defined group that in principle included some merchants.
This thesis follows new investigations in both Europe and the USA which have permitted to look anew, often with a cultural history approach, at merchants of the Early Modern period. Focusing on a Montreal merchant outfitter (marchand équipeur) and his family, the investigation first seeks to determine if the Canadian merchants’ culture (broadly defined) was similar to that of their French counterparts who worked on the same business level. A second aim is to evaluate the leeway available to individuals in face of the general conditions of the trade and the role of networks in the merchants’ career. Finally, the thesis attempts to define the self-conception of these men while looking at their lifestyle and the various roles they played in their community. To complete such a study, we have chosen to look « wide and deep » like micro-historians have before us.
The study examines the long life of the équipeur, Jean Alexis Lemoine dit Monière, who chose to settle in Montreal in 1715 and whose career Louise Dechêne had followed until 1725. After her, historians have since pictured Monière as a typical marchand équipeur. But he might not have been typical, he might even have been a « limiting case ». The thesis follows him to the end of his life and looking for all the opportunities that were offered to him along the way. It accords considerable importance to the material and immaterial legacy of his father, Jean Lemoine, and to what Monière passed on to this son, Pierre Alexis and a few nephews. Situating Monière between his father who emigrated from Rouen, his brothers and his own son, permits us to see the emergence of a profession, that of équipeur. We look at how Monière, who died in 1754, was prepared to embrace the merchant’s profession and how he perceived the way he should work as an équipeur. This study affords a better understanding of merchants’ culture, broadly conceived, in early French Canada. Exploring a variety of sources and using a micro-historical approach, we hope to have followed Dale Miquelon’s suggestion to look (again) at the merchants’ world with the eyes of the people of the times in order to answer today’s questions.