Academic literature on the topic 'Libraries, France: Paris: Bibliothèque Nationale'
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Journal articles on the topic "Libraries, France: Paris: Bibliothèque Nationale"
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Melot, Michel. "Le projet de Bibliotheque nationale des arts a Paris." Art Libraries Journal 18, no. 4 (1993): 4–10. http://dx.doi.org/10.1017/s030747220000849x.
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When the Bibliothèque Nationale moves into the new Bibliothèque de France, leaving behind only six specialised departments, the opportunity will arise to use the buildings of the Rue de Richelieu site to bring together a group of art history libraries and research centres. Priority will be given to the remaining Departments of the Bibliothèque Nationale, which need more space than they presently occupy; they will be joined by the inter-university library of art and archaeology from the Rue Michelet, the central library of the national museums, from the Louvre, and the older collections of the Ecole Nationale Supérieure des Beaux-Arts. The architectural holdings of the latter might be identified as the foundation for a major architectural collection to satisfy the demand for such a library in Paris. The collections thus brought together will not be merged, but will be exploited by means of shared services, including a union catalogue, and will be developed by means of a common acquisitions policy This concentration of resources on one site will not in itself constitute a ‘national art library’, but will provide a central node for a wider network. (An English version follows the original French text).
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Melot, Michel. "Les bibliotheques d’art en France et les nouvelles technologies de l’image." Art Libraries Journal 15, no. 2 (1990): 15–18. http://dx.doi.org/10.1017/s0307472200006702.
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In an age in which so much information is communicated through images, libraries can no longer exclude the ‘new technology of the image’. It is essential for libraries to respond to the challenge of the media, and to recognise, for example, the importance of television, which has a very visible and vital presence in the Bibliothèque publique d’information at the Pompidou Centre in Paris. Ever since the invention of photography, France has been the home of a lively tradition of active, innovative interest in photography. This is reflected in the existence of the Centre national de la photographies and the Ecole nationale de la photographie, in collections and exhibitions of photographs, and recently in the use made of videodiscs, by both museums and libraries, as a means of storing images and making them accessible. Telecommunications offer the prospect of online access to a network linking image collections together as a single visual resource. The most serious obstacles to be overcome are neither technological nor financial: the legal question of copyright has to be addressed, while the muted interest of historians does not as yet represent an overwhelming demand for such a service, and much may depend on librarians to stimulate the enthusiasm of potential users.
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Macouin, Francis. "De l’Indochine a l’Afghanistan: des arts etrangers dans les bibliotheques Parisiennes." Art Libraries Journal 18, no. 2 (1993): 26–33. http://dx.doi.org/10.1017/s0307472200008312.
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French interest in India and neighbouring regions dates back to the 17th century. Oriental studies developed as a distinct discipline through the 19th century, stimulated in France by French colonial activities in Indochina, and culminating at the end of the century in the emergence of Oriental art and archaeology as a subject in its own right. The Commission Archéologique de l’Indochine was established in 1898, and became the Ecole Francaise d’Extrême-Orient (EFEO) in 1901 with responsibility for listing and protecting antiquities in the French colonies; its library in Paris constitutes a major resource. France’s relationship with Afghanistan facilitated French archaeological activities in that country until 1975; archaeological finds enabled the Musée Guimet to extend its scope and to become a museum of Asiatic art, and its library became and remains the major library in Paris so far as Asian art is concerned. The library of the Ecole du Louvre supports courses on Asian art, while the Bibliothèque Nationale and such libraries as the Bibliothèque Forney also contain valuable collections. Photographic collections in some of these institutions have not been so well looked after as books, and their condition is a matter of concern. Unpublished archival materials are also held in some of the same institutions. The resources of a number of smaller, specialised institutes are currently being brought together in a new building under the name ‘Institute d’Asie du Collège de France’, while some other collections are being linked with the library of the EFEO to create a ‘Bibliothèque d’Asie’. Meanwhile it remains to be seen whether the new Bibliothèque Nationale des Arts will include the arts of Asia within its scope. No library in France has responsibility for modern Indian art. (An English translation follows the text in French).
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Bussotti, Michela, and Isabelle Landry-Deron. "Printing Chinese Characters, Engraving Chinese Types: Wooden Chinese Movable Type at the Imprimerie Nationale (1715-1819)." East Asian Publishing and Society 10, no. 1 (March 20, 2020): 1–72. http://dx.doi.org/10.1163/22106286-12341338.
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Abstract The collection of Chinese wooden movable types is among the oldest treasures of the Imprimerie Nationale. The types were carved in Paris between 1715 and 1819, and they are a legacy of the first French attempts to master the expertise necessary to print Chinese alongside Western alphabetic scripts. This article, which is the result of research conducted at the Imprimerie Nationale, combined with a study of historical and literary sources from various periods kept at the Bibliothèque nationale de France and at Italian libraries, provides a description of the types’ physical characteristics and relates how they were created, designed, organized, engraved, employed, classified and stored. Our research focuses on the attempts to include Chinese characters in publications in Western languages which were made in Europe and particularly in France from the beginning of the eighteenth century onwards. At a time when Europeans were beginning to expand their range of activities in Asia, printing in Asian scripts was a technical as well as a commercial, political and intellectual challenge. With no Chinese typographer to help, the French team modelled the types on characters found in a Chinese dictionary imported into France by missionaries, and at the beginning of the nineteenth century they published two dictionaries which included Chinese characters printed with wooden type.
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Mamlina, Aleksandra. "Images of Hell from Guiniforte Barzizza’s "Commento" (It. 2017, Bibliothèque nationale de France)." St.Tikhons' University Review. Series V. Christian Art 45 (March 31, 2022): 9–27. http://dx.doi.org/10.15382/sturv202245.9-27.
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The manuscript of Dante’s Hell with a commentary wrote by the Pavian humanist Guiniforte Barzizza, created in the 40s of the 15th century for the Duke of Milan, Filippo Maria Visconti, is decorated with miniatures attributed to the artist whom P. Toecsa names to as Maestro delle vitae imperatorum. Presumably, the manuscript initially contained about 115 miniatures, only 72 of which have been preserved till present days, but the codex, divided between two libraries (It. 2017, National Library of France, and MS 76, Communal Library of Imola) and several private collections, remains one of the most richly illustrated copies of The Divine Comedy of the late Middle Ages. Illustrations are characterized by archaism and oriented towards older models, such as miniatures of Strozziano 152 (Medici Laurenziana Library, Florence) or MS. Holkham misc. 48 (Bodleian Library, Oxford), while the tense realism of the miniature makes it an example of a new approach in the visual interpretation of The Divine Comedy.Maestro delle vitae imperatorum renders the details of narration accurately in terms of topography, anatomy and psychologism, intending to allow the reader become an accomplice of various emotions experienced by the protagonist of The Divine Comedy. Thus, the physical journey comes to the foreground, stretches in time and space, allowing readers to trace its course and the very topography of hell in the smallest detail. Researchers note that the incredible expressiveness of Dante's portraits on the pages of the Visconti manuscript - the poet's poses, gestures, facial expressions, as well as the "clinical" accuracy with which, for instance, the sufferings of sinners are transmitted, evoke terror rather than compassion.The article examines some miniatures of the Paris codex, analyzes the features of the image of hell as interpreted by Maestro delle vitae imperatorum and their connection with the tradition of illustrating the The Divine Comedy and with the visual culture of Visconti in general.
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Renoult, Daniel. "Innovation for arts and sciences: new technology in the French national library." Art Libraries Journal 23, no. 3 (1998): 20–22. http://dx.doi.org/10.1017/s0307472200011081.
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Founded in the fifteenth century, the French national library, the Bibliothèque Nationale de France, is one of the oldest research libraries, and, as regards the size and variety of its holdings, one of the largest in the world. An on-going programme of modernisation based on a new strategy was initiated in 1988, the aims of which are to enforce collection development in a broader encyclopaedic sense, facilitate access to documents for the general public and researchers, allow remote access through new technology and develop scientific and technical networks in co-operation with national institutions and the international community. From 1992 to 1995, two new buildings were created: one very large library (3,700 seats) located on the east side of Paris at Tolbiac, the François Mitterand Library, will house the 10 million books of the heritage collection and audiovisual documents; another new building, for conservation workshops, scientific laboratories, and new stores, the Centre Technique du Livre, is located on the outskirts of Paris, at Marne-la-Vallée. After the major book removal operation planned for 1998, the historic building in the rue de Richelieu will be devoted to special collections and will also house INHA, the new national institute for art history.In 1996, the first workshops at Marne-la-Vallée became operational and the general public level of the François Mitterand Library was inaugurated. The research level will follow in October 1998. Implementation of stage three of the audiovisual system, the new information system, will also begin in 1998, the year in which it is foreseen in addition that the new French union catalogue and the digital library will be made available to the public. All these projects aim at improving and enlarging the information services provided both to the general public and the scientific community.
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Ladurie, Emmanuel Le Roy. "The Bibliothèque Nationale." Alexandria: The Journal of National and International Library and Information Issues 1, no. 2 (August 1989): 1–6. http://dx.doi.org/10.1177/095574908900100201.
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The Bibliothèque Nationale is one of the five most important libraries in the Western world and the only French-language one. In spite of some adverse publicity in the past year, complaints about the slow service, and a long strike by book delivery staff, progress has been made, with legal deposit completely automated, and direct access for readers to the shelfmarks of works published in the last 10 years on microcomputers in the catalogue hall. It is now possible to consider the problems of the future such as the challenge of size and growth, with the prospect of a large building project based on new technology announced by the President in 1988, and preservation of the collections, where a start has already been made in microfilming volumes at risk, and in deacidification. Comprehensiveness or selectivity is another issue; the range of collections includes prints, coins and medals, and a large collection of printed materials on the theatre. Finally, a whole network of libraries in France should be upgraded in order to relieve pressure on the BN, which can then become a re-routing centre.
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Cardoso, Catarina Figueiredo. "On Being Contemporary." Matlit Revista do Programa de Doutoramento em Materialidades da Literatura 2, no. 1 (November 8, 2014): 203–7. http://dx.doi.org/10.14195/2182-8830_2-1_15.
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Review of Anne Moeglin-Delcroix's new edition of Esthétique du Livre d'Artiste 1960-1980: Une Introduction à l'Art Contemporain. 2nd edition, Marseilles/Paris: Le mot et le reste/ Bibliothèque Nationale de France [1st ed., Esthétique du Livre d'Artiste: 1960-1980, Paris: Bibliothèque Nationale de France/Jean Michel Place, 1997], 2012, 444 pp. ISBN 9782360540136. DOI: http://dx.doi.org/10.14195/2182-8830_2-1_15
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Pust, Hans-Christian. "Ausstellung "1914-1918. In Papiergewittern. Die Kriegssammlungen der Bibliotheken" in der Württembergischen Landesbibliothek." WLBforum 11, no. 1 (April 15, 2009): 30–34. http://dx.doi.org/10.53458/wlbf.v11i1.406.
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Am 12. März wurde die Ausstellung "1914-1918. In Papiergewittern. Die Kriegssammlungen der Bibliotheken" in der WLB eröffnet. Die Ausstellung ist ein Gemeinschaftsprojekt von vier Bibliotheken, neben der Bibliothek für Zeitgeschichte in der WLB haben drei französische Bibliotheken mitgearbeitet: Die Partnerbibliothek der WLB, die Bibliothèque nationale et universitaire Strasbourg, die Bibliothèque de documentation internationale contemporaine (Paris) und die Bibliothèque nationale de France (Paris).
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Pust, Hans-Christian. "Ausstellung „Orages de Papier“ in Paris." WLBforum 12, no. 2 (October 15, 2010): 12–15. http://dx.doi.org/10.53458/wlbf.v12i2.395.
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Am 26. Oktober 2010 wurde in Paris die Ausstellung „Orages de Papier – La Grande Guerre des médias“ eröffnet. Die Bibliothek für Zeitgeschichte hat diese Ausstellung zusammen mit der Bibliothèque nationale et universitaire de Strasbourg (BNU), der Bibliothèque de Documentation Internationale Contemporaine (BDIC) in Paris-Nanterre und der Bibliothèque nationale de France (BnF) erarbeitet. Alle vier Institutionen haben zu der Ausstellung Exponate aus ihren Kriegssammlungen beigesteuert, die im Ersten Weltkrieg angelegt wurden. Die Ausstellung war 2008 und 2009 schon in Straßburg und in Stuttgart zu sehen. In Paris wird sie in den Ausstellungsräumen der BDIC im Hôtel National des Invalidesgezeigt.
Dissertations / Theses on the topic "Libraries, France: Paris: Bibliothèque Nationale"
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Thibault-Dubois, Véronique. "Le tonaire noté du manuscrit de Gaillac (Paris, Bibliothèque nationale de France, lat. 776)." Paris, EPHE, 2010. http://www.theses.fr/2010EPHE4044.
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Le ms. Latin 776 de la Bibliothèque nationale de France contient un graduel à l’usage de l’abbaye de Gaillac suivi d’un tonaire copié sur le dernier cahier. Contemporain du graduel (XIe s. ), le tonaire couvre les cinq premiers tons avec 1465 incipit notés en notation aquitaine. Il comporte les antiennes et répons de l’office, les pièces de la messe, des invitatoires, des antiennes de processions, six séquences sans textes, des hymnes et des pièces diverses. De nombreuses mélodies sont notées pour les versets de répons et témoignent d’une pratique improvisée. Le sanctoral est riche de fêtes locales (Saturnin, Antonin, Géraud, Salvi…). Le tonaire présente des similitudes avec les tonaires aquitains mais s’en démarque par son classement dans l’ordre liturgique et son ampleur. Il véhicule un contenu ancien, probablement enrichi d’ajouts lors de copies antérieures, comme le montrent des irrégularités du classement. Il n’a pas été copié à partir du graduel bien que le répertoire soit proche. Les habitudes de notation sont différentes et la fête de saint Géraud, absente du graduel, souligne une influence d’Aurillac. Au cours de l’étude, le texte versifié du prologue théorique est édité et traduit, ainsi que le dernier texte, variante du ch. VIII du traité d’Aurélien de Réome. Les incipit sont relevés avec l’indication des fêtes et la diffusion des pièces. Les mélodies des formulaires et des versets sont éditées. L’étude est complétée par la liste des fêtes du graduel et un index alphabétique des pièces du tonaireMs. Latin 776 from the Bibliothèque nationale de France contains a gradual for the use of the Abbey of Gaillac, followed by a tonary copied in the last quaternion. Contemporary with the gradual (11th century), the tonary covers the first five tones with 1465 incipit in Aquitaine notation. It includes antiphons and responsories of the Office, chants for the Mass, invitatories, processional antiphons, six sequentiae without text, hymns, and miscellaneous chants. Many songs are written for the responsory verses and show evidence of improvisation. The sanctorale is rich with local feasts (Saturninus, Antoninus, Gerald, Salvi. . . ). The tonary has similarities with other Aquitanian tonaries but it differs in its ranking in the liturgical order and its magnitude. It carries an ancient content, probably enriched with additions made during earlier copies, as the irregularities in the classification show. It has not been copied from the gradual, although the repertory is similar. The patterns of the notation are different and the feast of St. Geraud stresses the influence of Aurillac, missing from the gradual. During the study, the poem of the theoretical prologue is edited and translated, as well as the last text, a variant of chapter VIII of the treaty of Aurelian of Réôm. The incipit are identified with an indication of the feast and the diffusion of the chants. The melodies of the formularies and verses are edited. The study is supplemented by the list of the feasts of the gradual and an alphabetical index of the chants of the tonary
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Bermes, Emmanuelle. "Le numérique en bibliothèque : naissance d'un patrimoine : l'exemple de la Bibliothèque nationale de France (1997-2019)." Thesis, Paris, Ecole nationale des chartes, 2020. http://www.theses.fr/2020ENCP0001.
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Depuis les années 1980, des objets matériels et immatériels d’une croissante diversité se trouvent qualifiés de “patrimoine”. L’idée d’un patrimoine numérique est ainsi aujourd’hui institutionnalisée. Pourtant, si l’on en croit l’expérience de la BnF au cours des vingt dernières années, l’acquisition d’une légitimité pour ces nouveaux objets patrimoniaux, qui vont des jeux vidéo sur support aux archives de l’Internet, des ouvrages anciens numérisés aux contenus dématérialisés collectés sur le web, a été une aventure mouvementée.Avec une période d’expérimentation, jusqu’en 2003, puis une période d’industrialisation et de professionnalisation, jusqu’en 2008, la filiation entre patrimoine écrit ou documentaire et patrimoine numérique a d’abord contribué à asseoir la place des documents et collections numériques dans les missions de la bibliothèque. Cependant, cette continuité restait indissociable d’une profonde altérité, inhérente à la nature du web et des objets documentaires qu’il génère. Ubiquité, volatilité, déstructuration, massification, internationalisation, transversalité : autant de caractéristiques du web qui ont contraint la BnF à adapter ses processus de travail, ses méthodes de traitement, ses outils et son organisation. L’étude de ce processus de patrimonialisation, qu’elle passe par l’observation des outils institutionnels qu’il mobilise, par l’étude des étapes ou gestes de ce processus, ou par les émotions qu’il suscite, fait apparaître deux aspects complémentaires du patrimoine numérique, interrogeant en profondeur l’identité et les missions de la BnF, dans son rapport à la société et au monde. D’une part, le numérique œuvre comme outil de dissémination, de médiation et de mise en valeur du patrimoine déjà existant ; d’autre part il voit émerger de nouveaux contenus et objets patrimoniaux. Dans la vision originelle d’une “très grande bibliothèque, d’un type entièrement nouveau”, la numérisation avait pour mission de réconcilier le patrimoine avec la nation, en utilisant la technologie comme outil de décloisonnement. Vingt ans d’expérimentations et de pratique ont semble-t-il fini par renverser cette logique, faisant du numérique un nouveau patrimoine dans lequel la nation est appelée à se reconnaîtreSince the 1980s, physical and digital objects of increasing diversity have been described as "heritage". The idea of a digital heritage is thus institutionalized today. However, according to the experience of the BnF over the past twenty years, these new heritage objects, which range from video games to web archives, from digitized rare and ancient books to online media, are not yet considered legitimate.With a period of experimentation, until 2003, then a period of industrialization and professionalization, until 2008, the continuity between written heritage and digital heritage first helped to establish the place of digital documents and collections within the missions of the library. However, the digital heritage also bring profound changes, inherent in the nature of the web and the documentary objects it generates. Ubiquity, volatility, destructuring, massification, internationalization, transversality: these characteristics of the web have forced the BnF to adapt its work processes, its tools and its organization.The study of the process towards the creation of a new digital heritage involves observing institutional tools, as well as studying the stages of this process and the emotions it arouses. Thus we reveal two complementary aspects of this new digital heritage, questioning in depth the identity and missions of the BnF, in its relationship to society and the world. On the one hand, digital developments help the dissemination, mediation and enhancement of existing heritage; on the other hand, new digital heritage objects emerge. In the original vision of a "very large library, of an entirely new type", the mission of digitization was to reconcile heritage with the nation, using technology. Twenty years of experimentation and practice have apparently ended up reversing this logic, making digital a new heritage which the nation is committed to preserve
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Bsir, Mkadmi Besma. "Nouvelles pratiques de lecture à l'ère du numérique : l'expérience de la Bibliothèque Nationale de France." Paris 8, 2005. http://www.theses.fr/2005PA082590.
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Sarmant, Thierry. "La république des médailles : numismates et collections numismatiques à Paris du XVIIe au XIXe siècle." Paris 1, 1999. http://www.theses.fr/1999PA010580.
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Comme la république des lettres, la république des médailles vécut son Age d'or aux XVIIe et XVIIIe siècles. Paris fut alors l'un des centres les plus brillants de l'activité numismatique européenne, en particulier sous le règne personnel de louis XIV. Cependant, cette république ne fut jamais un réseau organisé. La nation métallique n'eut jamais de centre ni de tête. Aucune collection, pas même celle du roi de France, ne put tenir ce rôle. En revanche, dans le premier quart du XVIIIe siècle, l'académie royale des inscriptions, y jouit un moment d'une sorte de magistère savant. La cohésion de cette petite république découla d'une communauté d'usages et de conceptions. Les mêmes livres de médailles circulaient dans toute l’Europe, les médailliers s'ordonnaient suivant les mêmes principes. L'alliance entre collectionneurs et savants fut aussi un fort ciment la république des médailles fut respublica curiosa autant que litteraria. La collection de médailles était toujours accompagnée d'un certain nombre de livres de médailles. Le cabinet de médailles était le complément ou l'ornement d'une bibliothèque. C'est donc avec la bibliophilie que la curiosité numismatique offre le plus de ressemblance : même alliance du souci esthétique et du souci intellectuel, même valeur du savoir empirique pour la recherche, même importance du sens du toucher, même attention portée à la notion d'exemplaire. Les grandes césures de l'histoire de la numismatique se placent dans les années 1660, où la science des médailles prit son indépendance, dans les années 1720-1730, où la curiosité numismatique cessa d'être à la mode, dans les années 1770, où la génération de Pellerin apporta un regard nouveau sur les monnaies, et dans les années 1830, enfin, où la numismatique trouva les pôles d'attraction qui sont encore les siens. Tenu longtemps pour une époque secondaire, le XVIIIe siècle fut, au contraire, un moment essentiel, le vrai grand siècle de la république des médaillesLike the republic of letters, the republic of medals lived his golden age in XVIIth and XVIIIth centuries. Then, Paris was one of the most important centres of European numismatical activity, particularly during the reign of Louis XIV. This republic was neither a coherent structure, nor an organised network. The metallical nation never had any centre or head no collection, not even the king's one, could play this part. However, in the first quarter of the XVIIIth century, a body, the academie royale des inscriptions, was something like a senate of this republic. In fact, the republic of medals'cohesion came from a community of uses and conceptions. The same books of medals circulated all over europe the cabinets were ordinated according to the same principles. The alliance between collectors and scientists was a strong cement too the republic of medals was respublica curiosa as well as litteraria. Coin collection was always linked with books of medals the medal cabinet was a complement and an ornament for a library so, numismatic curiosity presents a great likeness with book collection : same alliance of aesthetic worry and of intellectual one, same value of empirical knowledge for research, same importance of the sense of touch, same attention to the notion of exemplary. The great steps of the history of numismatics are 1660, when the science of medals became independent, years 1720-1730, when numismatical curiosity faded away, years 1770, when the pellerin generation brought decisive transformations to method and a new point of view on coins, and, finally, the years 1830, when numismatics found the centres it yet conserves : big Parisian merchants, revue numismatique, soon société francaise de numismatique, cabinet des médailles. Long seen as an uninteresting period of numismatics' history, XVIIIth century was, in fact, an essential moment, and the true grand siecle of the republic of medals
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Achutti, Luiz Eduardo Robinson. "Photo-ethnographie à la bibliothèque nationale de France : la photographie comme narration ethnographique. Une autre fáçon de se raconter." Paris 7, 2002. http://www.theses.fr/2002PA070018.
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Cette thèse est le résultat d'une recherche de quatre ans sur la "photo-ethnographie" : l'utilisation de la photographie comme écriture visuelle de l'ethnographie. La thèse est composée de trois parties. La première partie revisite les contacts historiques entre la photographie et l'anthropologie. Les propos des anthropologues sur la photographie en tant qu'anthropologie visuelle sont abordés plus précisément. Un parallèle est ensuite fait entre le texte ethnographique et la photo-ethnographie de nos jours, en particulier dans la présence d'images et de mots du terrain aux livres afin de rendre compte des questions d'écriture et de restitution. La deuxième partie traite davantage des questions pratiques et méthodologiques du savoir-faire de la photo-ethnographie sur le terrain comme les démarches initiales, la question du travail en équipe, la sélection des photographies, ou les problèmes d'ordre déontologique. Puis le terrain même des recherches à la Bibliothèque nationale de France est développé. A partir de l'espace public, la recherche arrive à l'espace privé, plus précisément à l'univers de travail du personnel situé dans les coulisses peu connues du public de cette " très grande bibliothèque"This dissertation is the result of a four years research aiming to propose "photo-ethnography" : the use of photography to build ethnographic visual narrations. The dissertation is composed of three parts. The first one reviews the historic approaches between photography and anthropology, in a precise way one sees quotations of anthropologists about photography as visual anthropology. A contemporary parrallel between ethnographic texts and photo-ethnography is made with the use of pictures and words form field work to books in order to give an account of questions of writing and restitution. The second part presents practical and methodological questions to practice photo-ethnography during fieldwork. It deals with the initial gaits, the question of teamwork, photography editing or questions of ethical order. Field works at the Bibliothèque nationale de France is then studied starting from the public space to get to the private space, more precisely the parts where people work which are presented as "backstage" and which are little known by the public of this huge library. .
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Béquet, Gaëlle. "Innovation et patrimoine numérique dans trois bibliothèques nationales européennes (Bibliothèque nationale de France, British Library, Österreichische Nationalbibliothek)." Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030169.
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L’analyse historique et sociologique de la mise en place des bibliothèques numériques dans trois institutions patrimoniales (Bibliothèque nationale de France, British Library, Österreichische Nationalbibliothek), sur une période allant de 1990 à 2011, montre la façon dont ces organisations, produisant et conservant un patrimoine physique, se sont transformées pour constituer et préserver un patrimoine numérique. La bibliothèque numérique est ici considérée de manière double, à la fois innovation technique et organisation. Elle est une innovation technique car elle est fondée sur un ensemble d’inventions (photographie numérique, serveurs web, internet, reconnaissance optique de caractères, métadonnées, etc…). Ces inventions sont combinées sous l’action de groupes de référence (chercheurs, bibliothécaires, informaticiens, éditeurs, pouvoirs publics, responsables marketing, mécènes, entreprises privées). Ces groupes peuvent être soit marginaux, soit inclus dans un réseau socio-technique spécifique qui contribue à la mise en place de la bibliothèque numérique. Cette dernière est un artefact technique qui évolue dans le temps, passant du stade d’objet-valise, caractérisé par une grande flexibilité interprétative, à celui d’objet-frontière, répondant aux besoins de tous les groupes de référence inclus dans le réseau. Une bibliothèque numérique est également une organisation, émanant de la bibliothèque physique, qui crée des services spécifiques chargés de contrôler les zones d’incertitude majeures que sont les techniques numériques et l’émergence de fournisseurs de contenus en ligne. Ceux-ci concurrencent les bibliothèques nationales dans la diffusion du patrimoine culturel. Les controverses entre acteurs sont les moments privilégiés où se dévoilent leurs positions face à l’artefact technique : la traduction est alors le moyen d’enrôler les membres du réseau socio-technique pour aboutir à la fixation provisoire de l’artefact. Le réseau socio-technique évolue dans le temps pour créer de nouvelles versions de l’artefactThe historical and sociological analysis of the setting up of digital libraries in three heritage institutions (Bibliothèque nationale de France, British Library, Österreichische Nationalbibliothek), from 1990 to 2011, shows how these organisations, which produce and preserve physical cultural heritage, have evolved to produce and preserve digital cultural heritage. The digital library has two aspects: it is a technological innovation and an organisation of its own. As a technological innovation, it is grounded on inventions such as digital photography, web servers, internet, optical character recognition, metadata…These inventions are combined by the action of reference groups (scholars, librarians, computer specialists, public administrations, sponsors, private companies). These groups are either marginal or included in a socio-technical network which creates the digital library. The latter is a technical artefact that evolves from a “suitcase-object” with great interpretive flexibility to a boundary object which satisfies the needs of reference groups taking part in the socio-technical network. A digital library is also an organisation, stemming from the physical library which creates specific departments in charge of controlling major uncertainty zones such as digital technologies and emerging online content providers. The latter compete with national libraries in the diffusion of cultural heritage. Controversies between actors are key moments when actors reveal their opinions concerning the technical artefact: translation is the means to enlist members of the socio-technical network to achieve the temporary closure of the artefact. The socio-technical network evolves with time to create new versions of the artefact
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Toscano, Gennaro. "Les rois bibliophiles : enlumineurs à la cour d'Aragon à Naples (1442-1495) : les manuscrits de la Bibliothèque Nationale de Paris." Paris 4, 1993. http://www.theses.fr/1993PA040050.
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Une étude artistique des manuscrits des rois d'Aragon restait encore à faire. Le département des manuscrits de la bibliothèque nationale conserve environ 556 volumes de la librairie royale de Naples. Si à cet ensemble on ajoute les presque 200 incunables conserves a la réserve des imprimés, on arrive à un total d'environ 750 ouvrages d'origine napolitaine. Nous avons retenu les 71 plus importants, du point de vue artistique et historique, pour faire un catalogue spécifique. Après un regroupement suivant un critère géographique, ces manuscrits ont fait l'objet de notices schématiques. A partir de ce corpus constitue avec le fonds de la bibliothèque nationale, cette thèse dresse un nouveau bilan devant servir de base à une approche plus globale de l'enluminure franco- flamande, espagnole et italienne de la même époque. L'analyse des oeuvres signées ou documentées a permis non seulement de mieux cerner le style de chacun des artistes, mais aussi de leur restituer les manuscrits tombés dans l'anonymat ou mal attribuésThe royal manuscripts of the aragonese kingdom in Naples have not been studied from an artistic point of view so far. The bibliotheque nationale gathers some 556 volumes the neapolitan royal library, as well as almost 200 incunabola in the reserve des imprimes. From this corpus of 750 works of neapolitan origin we have selected 71 - the mist significant historically and artistically speaking - in order to draw up a catalogue. After a first classification on the basis of their geographic origin, these manuscripts have been analyzed individually according to specific criteria. As a result of this survey, a global approach to neapolitan illuminated manuscripts is here proposed, which stresses particularly - and in a new way - the relationship between the french, flemish, spanish and italian xvth century painting and illuminating of manuscripts. Not only the analysis of signed of documented works has lead to a better understanding of each artist's style, but also to the restitution of manuscripts considered of unknown author or wrongly attributed until now
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Trost, Catherine. "Recherches sur les lampes chrétiennes en terre cuite : contribution au catalogue des lampes antiques de la Bibliothèque nationale de France." Paris 4, 1994. http://www.theses.fr/1994PA040340.
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Ce travail est une contribution au troisième tome du catalogue des lampes antiques de la bibliothèque nationale de France. Il comporte deux cents lampes en terre cuite, en majorité de l’époque paléochrétienne (4e-7e siècle après j. -c. ) et quelques exemplaires très tardifs, voire de l'époque médiévale (dont une lampe arabe). Les lampes chrétiennes d’Afrique du nord en sigillée (types Hayes I et II) forment la partie principale, avec cent quarante-huit numéros, plus deux moules en platre. Le reste de la collection comporte des lampes diverses : autres lampes d’Afrique du nord (lampes dites "tripolitaines" et "vandales"), lampes syro-palestiniennes, siciliennes etc. . . Ainsi que trois lampes modernes (reproductions ? Faux ?). Chaque section du catalogue est précédée d'une présentation typologique et chronologique. Enfin, un nouveau répertoire des motifs du bandeau des lampes de type Hayes II a été ajouté. Il est conçu comme un système ouvert permettant des enrichissements ultérieurs. La synthèse concerne les lampes chrétiennes d’Afrique du nord. Elle fait le point sur l'histoire de la recherche, le contexte économique et industriel, la datation, la diffusion, les ateliers, la fabrication, le décorThis work is a contribution to the third volume of the catalogue of antique lamps in the National library of France. It is composed of two hundred terracotta lamps, mostly belonging to the early Christian era (4th to 7th century a. D. ), and a few later copies as far as the medieval era - among them and Arabian lamp-. The early Christian lamps of African red slip ware (Hayes type 1 and Hayes type 2), from Tunisia, amount to the most important part with 148 items, plus 2 plaster moulds. The rest of the collection is composed of various lamps: other lamps from North Africa, called "tripolitanian" and "vandal", syr-palestinian lamps, Sicilian lamps etc. . . As well as 3 modern lamps -maybe forged-. Each section of the catalogue is preceded by a typological and chronological presentation. A new index of the decorative patterns in the irms of Hayes type 2 lamps has also been added. It has been thought of as an open composition allowing future developments. The synthesis is about the early Christian lamps from north Africa. It tries to picture the present state of knowledge about the history of research, the economical and industrial context, the datation, the distribution, the workshops, the manufacture, the decoration
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Sequera, Héctor J. "Selected Lute Music from Paris, Rés. Vmd. Ms. 27 from the Bibliothèque Nationale: Reconstruction, Edition, and Commentary." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4652/.
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Paris . Rés. Vmd. Ms. 27, known as Tl.1, or the Thibault Manuscript, is one of the earliest extant sources of lute music, containing twenty-four solos and eighty-six accompaniments for vocal compositions. The manuscript was copied in Italian lute tablature lacking rhythm signs, which makes it inaccessible for modern performance. Each selection contains a full score of the four-part vocal concordance, and the reconstructed lute part in both the original notation and keyboard transcription. The introductory study elaborates upon the creation dates for Tl.1 (ca. 1502-1512) through its relationship with the sources of the time and with the older unwritten tradition of Italian secular music that is apparent in the formal treatment of the music.
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Beldon, Valeria. "Edizione delle canzoni religiose anonime dei canzonieri Francesi C (Bern, Burgerbibliothek, 389) e V (Paris, Bibliothèque nationale de France, f. Fr. 24406), con trascrizione delle melodie." Paris, EPHE, 2005. http://www.theses.fr/2005EPHE4014.
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La présente etude est consacrée à l'édition de trente-six chansons pieuses anaonymes transmises en grande partie par des chansonniers français V (Paris, Bibliothèque Nationale de France, fr. 24406) et C (Bern, Burgerbibliothek 389). Plusieurs indices nous ont fait supposer que le même recueil de chansons pieuses a servi de source à V et C, mais que chacun des copistes a eu accès à un représentant différent de la tradition. E. Schwan avait d'ailleurs reconnu la source commune aux deux chansonniers et l'avait indiquée par l'abréviation Vg. L'édition reproduit les chansons selon l'ordre V, qui nous a vraisemblablement transmis le recueil dans l'ordre primitif. C'est aussi V qui a été retenu comme manuscrit de base, car il est plus correct et sa scipta est moins marquée dialectalement que celle de C. L'apparat est négatif ; il est disposé sur deux niveaux : les leçons refusées dans la partie supérieure et les variantes des autres sources manuscrites dans la partie inférieure, en transcription diplomatique. Toutes les variantes graphiques ont été relevées de manière à ce que le lecteur puisse se faire une idée de la scipta de chacun temoin. L'étude des mélodies du corpus nous a permi de confirmer ce que nous avions déjà vérifié lors de cette étude de textes eux-mêmes : nos chansons pieuses reprennent souvent des airs ou des schémas métriques déjà utilisés par des trouvères ou troubadours bien connus, comme Gace Brulé, Thibaut de Champagne, Gautier d'Espinal, Guiot de Provins, Robert de Castel, Jacques de Cambrai, Moniot d'Arras, Jacques le Vinier, Rigault de Berbezilh, Folquet de MarseilleThe present study consists in a critical edition of thirty-six anonymous religious French poems mainly transmitted by French chansonniers V (Paris, Bibliothèque nationale de france, fr. 24406) et C (Bern, Burgerbibliothek 389). Several elements made us think that a same collection of religious poems has been the source for V and C, but the two scribes copied from different branches of tradition. E. Schwan already recognised the common source to both manuscripts and indicated it with Vg. The songs of this edition follow ms. V's presentation, which transmitted the collection in the original order. Ms V is also taken as main source for the edition, as it is more correct and its scripta, if compared to C's one contains just few dialectical traces. The melodies's study of the collection confirmed what we had noticed during the texts'analysis: the religious poems are often composed on melodies and metrical schemes which existed and belonged to well known trouvères or troubadours, as Gace Brulé, Thibaut de Champagne, Gautier d'Espinal, Guiot de Provins, Robert de Castel, Jacques de Cambrai, Moniot d'Arras, Jacques le Vinier, Rigaut de Berbezilh, Folquet de Marseille
Books on the topic "Libraries, France: Paris: Bibliothèque Nationale"
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Daniel, Renoult, Melet-Sanson Jacqueline, and Beaudiquez Marcelle, eds. La Bibliothèque nationale de France: Collections, services, publics. Paris: Éditions du Cercle de la Librairie, 2001.
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Perrault, Dominique. Une place pour Paris: Une bibliothèque pour la France. Paris: Institut français d'architecture, 1989.
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Pastoureau, Mireille. Bibliothèque Nationale, Paris. Paris: Bibliothèque Nationale, 1992.
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Pastoureau, Mireille. Bibliothèque nationale, Paris. [Paris]: Musées et monuments de France, 1992.
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Blasselle, Bruno. La Bibliothèque nationale. 2nd ed. Paris: Presses universitaires de France, 1993.
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Paris, France Bibliothèque Nationale. The Bibliothèque nationale. Paris: Beaux-arts magazine, 1993.
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Blasselle, Bruno. Bibliothèque nationale de France. Paris: Scala, 2001.
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Paris, France Bibliothèque Nationale. Bibliothèque nationale de France: BnF : 2003-2004. Paris: BNF, 2003.
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Coleno, Nadine. Perrault raconte la Bibliothèque nationale de France. [Paris]: Regard, 2002.
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Balayé, Simone. La Bibliothèque nationale, des origines à 1800. Genève: Droz, 1988.
Find full textBook chapters on the topic "Libraries, France: Paris: Bibliothèque Nationale"
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Bernhard, Günther. "Der Liber universalis des Gottfried von Viterbo (Paris, Bibliothèque nationale de France, lat. 4894)." In Bibliologia, 133–47. Turnhout: Brepols Publishers, 2013. http://dx.doi.org/10.1484/m.bib.1.101474.
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Krause, Kathy M. "Paris, Bibliothèque nationale de France, fonds français 378 and the Gendered Visages of Allegorical Narrative." In The Dynamics of the Medieval Manuscript, 179–202. Göttingen: V&R unipress, 2017. http://dx.doi.org/10.14220/9783737007542.179.
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Pomaro, Gabriella. "La tradizione latina del Liber contemplationis: il manoscritto Paris, Bibliothèque nationale de France, Lat. 3348A." In Instrumenta Patristica et Mediaevalia, 21–77. Turnhout: Brepols Publishers, 2011. http://dx.doi.org/10.1484/m.ipm-eb.3.4910.
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Zepeda, Henry. "Glosses on the Almagest by Campanus of Novara and Others in Paris, Bibliothèque nationale de France, lat. 7256." In Ptolemy’s Science of the Stars in the Middle Ages, 225–44. Turnhout, Belgium: Brepols Publishers, 2020. http://dx.doi.org/10.1484/m.pals-eb.5.120181.
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Kujawiński, Jakub. "Correzioni di copista o correzioni di traduttore? Indizi del carattere autografo del ms. Paris, Bibliothèque nationale de France, fr. 688." In Bibliologia, 447–52. Turnhout: Brepols Publishers, 2013. http://dx.doi.org/10.1484/m.bib.1.101497.
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Jacobsson, Ritva Maria. "The Eleventh Century Troper from the Abbey of St. Magloire in Paris: Paris Bibliothèque Nationale de France, MS lat. 13252, with Special Reference to its unique Proper Tropes." In Publications of the Journal of Medieval Latin, I:474–507. Turnhout: Brepols Publishers, 2002. http://dx.doi.org/10.1484/m.pjml-eb.3.2837.
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Flora, Holly. "6. Women Wielding Knives: The Circumcision of Christ by His Mother in an Illustrated Manuscript of the Meditationes vitae Christi (Paris, Bibliothèque nationale de France ital. 115)." In The Christ Child in Medieval Culture, 145–66. Toronto: University of Toronto Press, 2012. http://dx.doi.org/10.3138/9781442695337-010.
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Panaite, Viorel. "East Encounters West: Western Merchants, Capitulations and Islamic Law in the Ottoman Mediterranean (16th and 17th Centuries)." In Exploring the Commonalities of the Mediterranean Region, 35–50. Turkish Academy of Sciences, 2019. http://dx.doi.org/10.53478/tuba.2020.040.
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An Ottoman manuscript from the Bibliothèque Nationale in Paris gathered between the same covers different types of documents, such as peace and commerce treaties (‘ahdname), legal opinions (fetva), Imperial orders (hüküm), Grand Vizier’s reports (telhis), ambassadors’ petitions (‘arzuhal) etc.Considering the order of documents, one can speak about the incipient design to structure this work in three sections: diplomatic section, juridical section and ad-ministrative section. The capitulatory régime is illustrated by the Imperial Charters, granted by the Ottoman sultans to the Kings of France in 1569, 1581 and 1597. Ot-toman manuscripts with copies of peace and commerce treaties granted to Christian sovereigns can be frequently found in archives and libraries. Astonishing to this manuscript ‒ and one can say this is the only manuscript structured in this manner, discovered until now ‒, is the fact that the section of Imperial charters (‘ahdname-i hümayun) is followed by a special section of legal opinions (fetva). Moreover, the attempts of the Ottoman central authorities to limit the abuses of local officials – less known until now – are proved by various imperial commands (hüküm).This manuscript is a basic source for researching the commercial and diplomatic relations between Muslims and non-Muslims in the Mediterranean in the late 16thand early 17th centuries. Particularly, the documents included in the manuscript offer information on: procedure of granting and observing the commercial privileges to Christian sovereigns; the maritime caravans and commercial navigation; prohibition to enslave Christian merchants and to confiscate their merchandise; responsibilities of the French ambassador in Istanbul and consuls in the Mediterranean harbors; legal condition of the Western merchants without an apart ambassador to the Otto-man Court; interdiction to create trouble to the commercial traffic by the corsairs of Tunis, Algiers and Tripoli of Libya; mutual setting free of Muslim and French captives etc
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"Paris, Bibliothèque nationale de France, gr. 940." In Tra i libri di Isacco Argiro, 211–13. De Gruyter, 2020. http://dx.doi.org/10.1515/9783110697179-031.
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"Paris, Bibliothèque nationale de France, gr. 1246." In Tra i libri di Isacco Argiro, 214–18. De Gruyter, 2020. http://dx.doi.org/10.1515/9783110697179-032.
Full textConference papers on the topic "Libraries, France: Paris: Bibliothèque Nationale"
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Pecci, Antonio, and Ida Campanile. "Aontia: un antico toponimo dalle Mappe Aragonesi." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11436.
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Aontia: an ancient toponym from the Aragon mapsThe Aragon geographical maps represent the territory of the ancient Kingdom of Naples. they date back to the second half of the fifteenth century, probably some of them or some copies were subsequently modified or updated. These ancient maps were rediscovered about thirty years ago in the State Archives of Naples and in the Bibliothèque Nationale de France in Paris, and they have been under study for some years. They are unfortunately still little used in the scientific field, although several contributions have demonstrated their validity as an investigation tool thanks to their undoubted information potential. In fact, thanks to the very high degree of characterization of these maps it is possible to advance hypotheses and considerations of a historical-archaeological nature of the territories they represent. It is often toponymic analysis that offers insights and guides the early stages of research: toponyms relating to natural and anthropic elements inform about landscapes rich of medieval and classical references. The case study proposed here relates to the toponym Aontia, located on the Aragon maps near the centers of the Basilicata of Cirigliano and Gorgoglione. It is a place currently unidentified and not attested in any medieval or modern source; its toponym may refer to some references relating to an epithet of the well-known Greek divinity Artemis and to the presence of a sanctuary dedicated to it or to an ancient settlement. Starting from the analysis of the toponym Aontia, a localization proposal will be carried out based on the etymological and historical study, on the topographic survey and on the remote sensing analysis.