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Journal articles on the topic 'Libraries, France: Paris: Bibliothèque Nationale'

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Author: Grafiati

Published: 26 July 2024

Last updated: 29 July 2024

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1

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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2

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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3

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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4

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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5

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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6

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.

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11

Trump, Dominik. "In margine – Annotationen in der Handschrift Paris, Bibliothèque nationale de France, lat. 4417." Zeitschrift der Savigny-Stiftung für Rechtsgeschichte: Romanistische Abteilung 136, no. 1 (June 26, 2019): 364–71. http://dx.doi.org/10.1515/zrgr-2019-0015.

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Abstract In margine – Annotations in codex Paris, Bibliothèque nationale de France, lat. 4417. This paper deals with Paris, Bibliothèque nationale de France, lat. 4417, a 9th century manuscript containing quite a few annotations, especially in the margin. Within the text of the Epitome Aegidii, five nota signs clearly indicate a user's special interests. The annotations will be analysed regarding their functions, and it will be emphasized that the reception of a text can be clearly understood based on the evidence in the manuscript itself.

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12

Bélaval, Philippe. "Retour à la Bibliothèque Nationale de France." Alexandria: The Journal of National and International Library and Information Issues 9, no. 1 (April 1997): 45–58. http://dx.doi.org/10.1177/095574909700900103.

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The decision in July 1988 to build a new library in Paris has been the starting point of a deep change in every field of activity for the French national library, which combines the old Bibliothèque nationale in the Rue de Richelieu with the Bibliothèque de France in Tolbiac in what is now known as the Bibliothèque nationale de France (BnF). The collections will be divided between two sites: the Rue de Richelieu building will retain the special collections, in improved storage conditions and with better access; while the printed and audiovisual collections are being transferred to the new building at Tolbiac between the end of 1996 and the end of 1998. 370,000 books will be acquired specially to fill gaps in previously neglected areas such as law, economics and science. A new OPAC, due for completion in 1998, will provide access to merged files of the BnF, including 4.5 million converted records from the old hand-written catalogue. Next to the research reading rooms, which are for registered users only, will be ten reading rooms open to the general public for a fee, which will have 380,000 books on open access. The OPAC will be accessible remotely, as will the seat and book reservation system. A new preservation centre has been built in Marne-la-Vallée, 20 km east of Paris; there is a special emphasis on deacidification. There are two digitization programmes, for 100,000 texts and 300,000 pictures; negotiation is taking place with copyright holders. Experimental access to several bibliographic databases and digitized collections is already proving successful. The new reference library in the new building opened in December 1996 and the research library will open in 1998.

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13

Farhi, Robert. "Comment lutter contre la désinformation scientifique ? Journée Sciences et Médias 2018." Reflets de la physique, no. 58 (June 2018): 33–37. http://dx.doi.org/10.1051/refdp/201858033.

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Le 11 janvier 2018 s’est tenue à la Bibliothèque nationale de France (quai François Mauriac, Paris, 13e) la quatrième journée Sciences et Médias. Le but de ces journées est de participer à la réflexion sur la façon dont les médias se saisissent des questions scientifiques. L’édition 2018 était organisée par l’Association des Journalistes Scientifiques de la Presse d’Information (AJSPI), la Bibliothèque nationale de France (BnF), la Société Chimique de France (SCF), la Société Française de Physique (SFP), la Société Française de Statistique (SFdS), la Société Informatique de France (SIF), la Société de Mathématiques Appliquées et Industrielles (SMAI) et la Société Mathématique de France (SMF).

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Grunberg, Gérald. "The Audiovisual Programme of the Bibliothèque Nationale de France." Alexandria: The Journal of National and International Library and Information Issues 8, no. 3 (December 1996): 181–88. http://dx.doi.org/10.1177/095574909600800304.

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The audiovisual collections of national libraries are in general relatively undeveloped, they are still largely dominated by collections of printed materials. However, a rapid development in audiovisual materials and multimedia is occurring, as evidenced recently by the extension in some countries of legal deposit to such materials. In France a law of 1992 distributed responsibility for audiovisual materials among three institutions, of which the Bibliothèque nationale de France is one, dealing with sound recordings, videotapes and multimedia, both multi- and single-carrier. The library's new building provides a special opportunity to completely rethink the means of conservation of audiovisual and multimedia collections and of access to the information they contain. One big issue is whether to organize the collections within a special department or in relevant subject departments according to their contents, since it is now theoretically possible to transmit the contents of any audiovisual document to any location within the library. The library has therefore been conceived so that in future all work areas can be equipped with multimedia workstations. The Audiovisual Department will, like other departments, have two reading rooms, one for the general public and one for researchers, and 450 workstations will be provided.

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15

Guesdon, Marie-Geneviève. "Corans maghrébins copiés du XIIe au XVIIe siècle. conservés dans les musées et Bibliothèques de France autres que la BnF." Journal of Qur'anic Studies 19, no. 3 (October 2017): 4–17. http://dx.doi.org/10.3366/jqs.2017.0299.

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Plusieurs bibliothèques et musées français conservent dans leurs fonds des manuscrits ou des fragments du Coran qui ont été copiés dans l'Occident musulman entre le XIIe et le XVIIe siècle, mais n'ont parfois pas été correctement identifiés. Si on laisse de côté la Bibliothèque nationale de France, sa collection ayant été déjà décrite de manière exhaustive, le présent article rassemble de l'information sur des manuscrits possédant ces caractéristiques, tirée de divers catalogues et bases de données où ils sont décrits. [Various libraries and museums in France have in their holdings Qur'an manuscripts and fragments copied in the Western Islamic World between the twelfth and seventeenth centuries that are sometimes not properly identified. Leaving aside the Bibliothèque nationale de France, since its collection has already been fully described, the present paper collates information about such manuscripts from the various disparate catalogues or databases in which they are described.]

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Gaudelus, Sébastien, Martine Poulain, and Lucile Trunel. "The renovation of the Richelieu building: a future centre for art researchers in Paris." Art Libraries Journal 36, no. 1 (2011): 11–16. http://dx.doi.org/10.1017/s0307472200016734.

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The historic site of the French national library is currently being renovated in order to become a major centre for art documentation and special collections. It will incorporate three separate institutions: the specialist departments of the Bibliothèque nationale de France, the library of the Institut national d’histoire de l’art, and the library of the Ecole nationale des Chartes. Completion of the project is scheduled for 2017.

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17

Salwa, Mateusz. "The uncanny garden. Jardin-forêt at Bibliothèque nationale de France." Aesthetic Investigations 1, no. 1 (July 16, 2015): 113–19. http://dx.doi.org/10.58519/aesthinv.v1i1.12010.

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The paper is an analysis of the garden at the National Library in Paris. The garden (Jardin-foret) is desribed as uncanny for it belongs to a long tradition of gardening but at the same time it turns out to be its opposite. The uncanny effect seems to stem from the tension between artificiality and naturalness which is at least partly responsable for the lack of enthusiasm towards the garden as it is proved by a quotation from W.G. Sebald's novel 'Austerlitz'.

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18

Nekhaenko, Fedor, and Hugh of Saint-Cher. "[Questions about Angels and Demons]." Philosophy Journal of the Higher School of Economics 7, no. 4 (December 31, 2023): 264–86. http://dx.doi.org/10.17323/2587-8719-2023-4-264-286.

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Translation of: Hugo de Sancto Caro. “Opus” [in Latin]. In Biblioteca Apostolica Vaticana. Città del Vaticano. Ms. Vat. lat. 1098; In Fondo Antico presso la Biblioteca del Sacro Convento. Assisi. Mss. 130, 131; In Hoofdbibliotheek Biekorf Brugge. Brugge. Ms. 178; In Bibliothèque nationale de France. Paris. Mss. lat. 10728, 3073.

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Duba, William. "The Bull in the Book: A 1308 Witness to the Career of Francesco Caracciolo, Chancellor of Paris." Fragmentology, no. 3 (December 2020): 141–48. http://dx.doi.org/10.24446/fc88.

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Research note from Fragmentology 3 (2020). Bound with the 1338 Catalogue of the Library of the Collège de la Sorbonne (Paris, Bibliothèque nationale de France, N.A.L. 99) is a 1308 papal bull used as a pastedown in a previous binding (https://fragmentarium.ms/overview/F-nqp8). This Bull provides a further witness to the early career of the theologian Francesco Caracciolo (d. 1316), who served as Chancellor of the University of Paris.

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20

Trump, Dominik. "Rezeptionsspuren in der Handschrift Paris, Bibliothèque nationale de France, lat. 4419 (Epitome monachi)." Zeitschrift der Savigny-Stiftung für Rechtsgeschichte: Romanistische Abteilung 138, no. 1 (June 1, 2021): 607–15. http://dx.doi.org/10.1515/zrgr-2021-0018.

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Abstract Traces of reception in codex Paris, Bibliothèque nationale de France, lat. 4419 (Epitome monachi). This short article deals with the manuscript Paris lat. 4419, which contains the Epitome monachi and was written at the end of the 9th or at the beginning of the 10th century. Some interesting annotations in the margin show the reception and interaction of users with the text. Selected annotations are discussed and analysed and an appendix with all marginal annotations of the codex is given.

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Neuman, Robert. "Robert de Cotte and the Baroque Ecclesiastical Façade in France." Journal of the Society of Architectural Historians 44, no. 3 (October 1, 1985): 250–65. http://dx.doi.org/10.2307/990075.

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The façade of St. Roch, Paris (erected 1736-1738), the last major work by Robert de Cotte, is often viewed as anomalous in an oeuvre devoted almost exclusively to the design of secular buildings. However, the recent discovery in Paris of certain drawings and related documents from de Cotte's studio (Bibliothèque Nationale; Archives Nationales; Bibliothèque de l'Institut) makes it clear that he confronted the problem of the Italianate ecclesiastical façade throughout his career, although only a few of the commissions were actually carried out. The various solutions, while rooted in French tradition, betray a strong interest in Italian church portals of the Late Renaissance and Baroque. The notes and drawings made by the architect during his Italian sojourn of 1689-1690 confirm this interest. A chronological review of the projects reveals that the design for the St. Roch portal was closely related to de Cotte's earlier experiments for church façades in Paris, Dijon, and Orléans; the Premier Architecte relied particularly on precedents set by Jules Hardouin Mansart, as well as on his own unexecuted project for St. Louis de Versailles (1724).

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Puig, Marie-Christine Villanueva. "A propos d’une amphore du Peintre d’Amasis conservée au Cabinet des Médailles de la Bibliothèque Nationale de France à Paris : trois grandes divinités de l’Athènes archaïque." Tempo 21, no. 38 (December 2015): 30–56. http://dx.doi.org/10.1590/tem-1980-542x2015v213807.

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Résumé Le programme iconographique d’une amphore attique à figures noires, datée vers 540, signée du potier Amasis et attribuée au Peintre d’Amasis (Cabinet des Médailles de la Bibliothèque Nationale de France à Paris), est réexaminé. A partir de celui-ci, on se propose d’évaluer l’importance documentaire des images portées par les vases dans l’approche de l’histoire socio-religieuse de l’Athènes archaïque.

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23

Chung, David. "Paris, Bibliothèque nationale de France, Rés. Vm7 674–675: The Bauyn Manuscript ed. by Bruce Gustafson, and: Paris, Bibliothèque nationale de France, Rés. Vm7 674–675: The Bauyn Manuscript ed. Bruce Gustafson, and: Paris, Bibliothèque nationale de France, Rés. Vm7 674–675: The Bauyn Manuscript ed. by Bruce Gustafson, and: Paris, Bibliothèque nationale de France, Rés. Vm7 674–675: The Bauyn Manuscript ed. by Bruce Gustafson." Notes 72, no. 1 (2015): 216–21. http://dx.doi.org/10.1353/not.2015.0087.

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Haug, Henrike. "hic in figura et textu habetur. Bezugsfelder diagrammatischer Formen in einer Mailänder Stadtchronik des 14. Jahrhunderts." Das Mittelalter 22, no. 2 (November 7, 2017): 351–71. http://dx.doi.org/10.1515/mial-2017-0021.

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AbstractThe Bibliothèque nationale de France in Paris (BnF, MS Latin 5184) holds a fragment of the ‘Manipulus florum’ of Galvanus Flamma. This copy of a milanese urban chronical dates back to 1340. In addition to a modified version of the text, it contains 118 geometrical schemata covered in text. The article focuses mainly on the circular representations of the city and – while exploring their variety – discusses the semantic field of these diagrams.

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Ince, Barış. "Arabe 330b." Journal of Islamic Manuscripts 14, no. 2-4 (August 3, 2023): 115–54. http://dx.doi.org/10.1163/1878464x-01303010.

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Abstract This article is an examination of the vocalised quranic manuscript MS Paris, BnF Arabe 330b, currently found at the Bibliothèque nationale de France. The vocalisation system in the manuscript clearly reflects two canonical readings, namely those of Ḥamzah and Warsh, and has tremendous consistency with how medieval Islamic scholarship described these readings. This was established through a juxtaposition of the manuscript’s vocalisation, rasm and verse dividers with the classical Islamic qirāʾāt literature.

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Camillo Ferrari, Michèle. "Der älteste touronische Pandekt, Paris, Bibliothèque Nationale de France lat. 8847 und seine Fragmente." Scriptorium 53, no. 1 (1999): 108–14. http://dx.doi.org/10.3406/scrip.1999.1868.

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Pouchain, Gérard. "Les caricatures de Victor Hugo au musée de Villequier." Études Normandes 7, no. 1 (2018): 60–65. http://dx.doi.org/10.3406/etnor.2018.3842.

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Depuis une quinzaine d’années, les expositions de Victor Hugo caricaturé par Bertall, Carjat, Cham, Daumier, Gill, Le Petit, Nadar, Roubaud, etc., se multiplient tant en France qu’à l’étranger (Belgique, Grand-Duché de Luxembourg, Guernesey, Italie, Jersey, mais aussi Canada, Chine, Cuba, États-Unis). En revanche, on attend toujours une exposition consacrée aux caricatures signées Victor Hugo. Le plus grand nombre est conservé à la Bibliothèque nationale de France (environ cinq cents), mais la Maison de Victor Hugo de Paris et le musée Victor-Hugo – Maison Vacquerie de Villequier en possèdent aussi, respectivement un peu moins de cent cinquante et trente-huit.

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Poulain, Martine. "A major art library in preparation: the Library of the Institut national d’histoire de d’art." Art Libraries Journal 30, no. 2 (2005): 4–16. http://dx.doi.org/10.1017/s0307472200013900.

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The Institut national d’histoire de l’art (INHA) is still little known among library professionals, and still insufficiently known by researchers and its other potential users. Created by decree in July 2001, it has been extremely slow in gestation and researchers in the field of art have waited for it for a very long time. The Institution’s Library, comprising the largely complementary holdings of three of the main art libraries in Paris, is expected to open within a few years, and readers will be housed mainly in the beautiful Salle Labrouste, formerly occupied by users of the collections of the Bibliothèque nationale.

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Battagliola, Davide. "Do all roads lead to Waterford? The codex BnF fr. 1822 and its context." Carte Romanze. Rivista di Filologia e Linguistica Romanze dalle Origini al Rinascimento 9, no. 2 (December 30, 2021): 117–33. http://dx.doi.org/10.54103/2282-7447/16662.

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This contribution aims to offer new insights into the context of the manuscript Paris, Bibliothèque nationale de France, fr. 1822. Keith Busby has recently ascribed this miscellany of Old French moral texts (sole witness of Jofroi de Waterford’s translations) to the Irish city of Waterford. The paper discusses this hypothesis, focusing on the codicological and historical aspects of the manuscripts. Moreover, the article presents my research on the (probably Anglo-Norman) redaction of the Livre de Moralitez transmitted by the codex.

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MINOV, SERGEY. "Friday Veneration among Syriac Christians: The Witness of the Story of the Holy Friday." Journal of the Royal Asiatic Society 30, no. 2 (April 2020): 195–222. http://dx.doi.org/10.1017/s1356186319000129.

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AbstractThis article contains the original unpublished Syriac text of the Story of the Holy Friday, an anonymous hagiographic composition that promotes an idiosyncratic form of Friday veneration, which demands that Christians refrain from work on that day completely. The text of the Story, published on the basis of manuscript Paris, Bibliothèque nationale de France, syr. 234, is accompanied with an English translation and discussion of its unusual message, possibly related to the early period of Muslim-Christian relations in the Near East.

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García López, Fátima, and Sara Martínez Cardama. "Strategies for preserving memes as artefacts of digital culture." Journal of Librarianship and Information Science 52, no. 3 (October 16, 2019): 895–904. http://dx.doi.org/10.1177/0961000619882070.

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The Internet archives kept by heritage libraries are analysed, focusing specifically on that new type of expression characteristic of web culture and digital folklore, the meme. Five paradigmatic examples of heritage institutions engaging in web archive initiatives are explored: the Library of Congress, British Library, Bibliothèque Nationale de France, Biblioteca Nacional de España and National Library of Australia. Specific assessment categories are defined for the study. The findings reveal a lack of collection policies for such representative objects of today’s mass culture and identify the challenges both for the custodial institutions and for research in the future.

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Michaut, Cécile. "Il faut plus de femmes scientifiques dans les médias ! Journée Sciences et Médias 2021." Reflets de la physique, no. 70 (October 2021): 38–43. http://dx.doi.org/10.1051/refdp/202170038.

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Organismes de recherche et journalistes doivent travailler ensemble pour une meilleure représentation des femmes dans les médias. Au-delà de l’équité, cette diversité est garante d’une meilleure science. Après deux reports, la cinquième édition des Journées Sciences et Médias : « Femmes scientifiques à la Une ! Comment améliorer la représentation des femmes scientifiques dans les médias ? » s’est enfin tenue le 29 janvier 2021 à la Bibliothèque nationale de France (BnF, site François Mitterand, Paris 13e). Cette journée était coorganisée par la BnF, l’Association des Journalistes Scientifiques de la Presse d’Information (AJSPI), la Société Française de Physique (SFP), la Société Chimique de France (SCF), la Société Informatique de France (SIF), la Société de Mathématiques Appliquées et Industrielles (SMAI) et la Société Mathématique de France (SMF).

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Frédérique, Mademoiselle. "Manuscripts from the collection of Decretals of Gregory IX preserved in Spain." Revista Española de Derecho Canónico 81, no. 196 (June 21, 2024): 199–220. http://dx.doi.org/10.36576/2660-9541.81.199.

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Analysis of 28 manuscripts of Gregorius IX Decretales kept in Spain that were identified in the catalogues of manuscripts kept in I.R.H.T. and at the Bibliothèque nationale de France. These reports deal with the origin and the dating, the recipients, the texts, the ornamentation, the pecia, the owners, and the bibliography. The graphics inform us about the distribution of the data. These manuscripts were produced in Italy and France, and date from the XIIIth to the XIVth centuries. The recipients are Bologna and Paris. The explicits inform us about artisans. These manuscripts have especially a painted ornamentation. Three manuscripts have pecia’s mentions. The owners are students, jurists, ecclesiastics and religious houses.

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Rozier, Gilles. "The Bibliothèque Medem: Eighty Years Serving Yiddish Culture." Judaica Librarianship 15, no. 1 (April 15, 2014): 25–34. http://dx.doi.org/10.14263/2330-2976.1042.

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The Bibliothèque Medem (or Medem-Bibliotek, in Yiddish), in Paris, is the largest Yiddish library in Western and Central Europe, as well as a major Jewish cultural center. Founded in 1928 by a group of Eastern European Jewish immigrants who were aligned with the socialist Bund, its trajectory over eight decades (including the four years of the German occupation) is chronicled here. Today, the collections of the Bibliothèque Medem comprise 20,000 volumes in Yiddish and 10,000 titles in the Latin alphabet dealing with Jewish culture. In addition, it maintains about 30,000 uncataloged book volumes, extensive serial holdings, 300 posters, archives of a number of Yiddish authors, and a sound archive containing 7,500 recordings. Together with the libraries of the Alliance Israélite Universelle and the Séminaire Israélite de France (SIF), the Bibliothèque Medem is a principal partner in the Réseau Européen des Bibliothèques Judaica et Hebraica (European Network of Judaica and Hebraica Libraries), which administers their union catalog and sponsors digitization projects of their holdings.

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Claerr, Thierry. "Bruno B lasselle et Gennaro T oscano (dir.), Histoire de la Bibliothèque nationale de France. Paris, Bibliothèque nationale de France, 2021, 564 p. (ISBN 978-2-7177-2897-2)." Bulletin du bibliophile N° 376, no. 2 (January 2, 2022): 313–16. http://dx.doi.org/10.3917/bubib.376.0165.

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McDonough, Christopher J. "Paris, Bibliothèque nationale de France lat. 16483: Contents, Audience, and the Matter of Old French." Mediaeval Studies 64 (January 2002): 131–216. http://dx.doi.org/10.1484/j.ms.2.306493.

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Lynde-Recchia, Molly. "Wauchier de Denain's Vie de seint Marciau (Paris, Bibliothèque nationale de France ms. fr. 411)." Revue Bénédictine 108, no. 1-2 (January 1998): 169–77. http://dx.doi.org/10.1484/j.rb.4.00370.

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Pimpinelli, Matteo. "The Margins at the Centre: New Light on Paris, Bibliothèque nationale de France, Arabe 2967." Mediterranea. International Journal on the Transfer of Knowledge 9 (April 23, 2024): 213–41. http://dx.doi.org/10.21071/mijtk.v9i.16466.

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Marginal elements within manuscripts, especially when unsystematic, disorganised, and heterogenous, are often ignored by scholars who intentionally decide to prioritise the centre over the margins. Accordingly, the lion’s share of printed and online catalogues addresses the margins en passant. But to what extent is this approach fruitful to a comprehensive study of manuscripts? By focusing exclusively on margins, this article proposes to demonstrate that marginal annotations are instrumental in providing an exhaustive study of manuscripts in terms of historical reconstruction, and with regard to the annotators’ life, interests, and expertise. The interdisciplinarity of the study of margins stands out inasmuch as it mixes first-hand palaeographical and codicological examinations with a scrutinization of the sources. Specifically, the history of Paris, Bibliothèque nationale de France, Arabe 2967 will be unveiled with regard to the major events and people connected to it.

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Divizia, Paolo. "Un nuovo volgarizzamento dei Disticha Catonis (Paris, Bibliothèque nationale de France, it. 557)." Giornale storico della letteratura italiana 200, no. 672 (October 2023): 551–71. http://dx.doi.org/10.1484/j.gsli.5.137926.

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40

Jorge, Marcelo, and Biagio D’Angelo. "Debret, professor de desenho: gravuras inéditas da coleção da Bibliothèque nationale de France." Anais do Museu Paulista: História e Cultura Material 24, no. 3 (December 2016): 199–268. http://dx.doi.org/10.1590/1982-02672016v24n0308.

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RESUMO Este artigo apresenta e discute três conjuntos de gravuras inéditas de Jean-Baptiste Debret (1768-1848) encontradas nas coleções do Département des Estampes et de la Photographie da Bibliothèque nationale de France, em Paris. O primeiro grupo foi gravado por Gilles-Antoine Demarteau (1750-1802) em 1802; os outros dois foram gravados por L. M. Petit entre c. 1810-1813, o Nouveau Recueil Élémentaire de Dessin e as Têtes d´étude d´après David. A pesquisa busca fazer uma filologia histórica dessas gravuras, discutindo questões de autenticidade, atribuição, finalidade e correspondência com obras semelhantes do período. A metodologia adotada foi a análise e a comparação de bibliografia sobre o tema, de documentos de época e o cotejamento das informações levantadas com os dados já conhecidos sobre a biografia do artista. Os objetivos principais deste trabalho são tentar compreender quais as particularidades dessas pranchas em relação a outros exemplares da mesma época, como essas imagens se inserem no contexto da produção de estampas didáticas no início do século XIX, e como a carreira francesa e brasileira do pintor pode ser reinterpretada a partir das informações colhidas e dos debates sugeridos.

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Baurmeister, Ursula. "The Recording of Marks of Provenance in the Bibliothèque Nationale de France and Other French Libraries." Papers of the Bibliographical Society of America 91, no. 4 (December 1997): 525–38. http://dx.doi.org/10.1086/pbsa.91.4.24304791.

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42

Gallat-Morin, Élisabeth. "Une oeuvre musicale de « John James » Rousseau à Québec : une curiosité de notre patrimoine." Les Cahiers de la Société québécoise de recherche en musique 12, no. 1-2 (December 3, 2018): 115–20. http://dx.doi.org/10.7202/1054207ar.

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La présence dans la bibliothèque du Séminaire de Québec des romances de Jean-Jacques Rousseau, Les Consolations des misères de ma vie, suscite la curiosité. De format in-8 (l’édition originelle de 1781 est en format in-folio), le volume ne porte aucune indication d’éditeur ni de date. Plusieurs gravures anglaises y sont insérées dont, en page frontispice, un portrait de « John James » Rousseau. Comment situer cette édition des Consolations ? Les recherches ont permis de la retracer dans les Oeuvres complètes publiées à Paris de 1788 à 1793. L’étude des exemplaires appartenant à la Bibliothèque nationale de France a révélé que le contenu de ces volumes n’est pas toujours agencé de la même manière; le volume de Québec présente des similitudes avec certains exemplaires, mais est unique sous d’autres aspects.

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Lecco, Margherita. "Le miniature di Renart le Contrefait nel manoscritto Paris BnF fr. 1630." Reinardus / Yearbook of the International Reynard Society 28 (December 31, 2016): 100–110. http://dx.doi.org/10.1075/rein.28.07lec.

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Le manuscrit fr.1630 de la Bibliothèque Nationale de France, qui nous a transmis la rédaction A de Renart le Contrefait (1319–1322), contient 31 miniatures. Elles accompagnent fidèlement le texte, révélant la présence de certains éléments satiriques, comme le sermon que Renard prononce devant un auditoire d’oiseaux. On peut y voir une parodie du sermon que saint François avait adressé aux oiseaux, les incitant à l’obéissance et à l’humilité. Dans le Contrefait les mêmes mots poussent les animaux dans la bouche de Renart… Peut-on y voir une parodie, et donc une critique, à l’égard de saint François, de son enseignement sur la pauvreté et des Franciscains, qui semble se lire parfois dans quelques épisodes du texte?

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Denoël, Charlotte. "Le fonds des manuscrits latins de Notre-Dame de Paris à la Bibliothèque nationale de France." Scriptorium 58, no. 2 (2004): 131–73. http://dx.doi.org/10.3406/scrip.2004.3876.

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Mordeglia, Caterina. "Fedro e le favole latine dello pseudo-Dositeo (ms. Paris, Bibliothèque nationale de France, lat. 6503)." Reinardus / Yearbook of the International Reynard Society 27 (December 31, 2015): 162–81. http://dx.doi.org/10.1075/rein.27.09mor.

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Gli Hermeneumata Pseudodositheana, a partire dal XVI secolo falsamente attribuiti al grammatico tardoantico Dositeo, sono un manuale scolastico bilingue greco-latino databile al IV secolo e di origine incerta, che nel Medioevo si diffonde in tutta Europa in nove redazioni. Due codici riconducibili a due di esse, il ms. Paris, Bibliothèque nationale de France, lat. 6503 (Corbie, sec. IX3/4 = P) e il ms. Leiden, Bibliotheek der Rijksuniversiteit, Voss. Gr. Q. 7, (Köln, sec. X = L), riportano tra i testi di esercizio per gli studenti 18 favole esopiche, che si rivelano particolarmente importanti per tracciare l’evoluzione del genere nella tarda latinità. Il presente saggio rivaluta la versione di tali favole tramandata da P e pubblica, per la prima volta con traduzione italiana, il testo aggiornato delle quattro favole per cui si registra un corrispettivo in Fedro, con l’obiettivo di indagare sulla base delle acquisizioni critiche recenti la diffusione dell’opera del favolista latino in età tardoantica e altomedievale, anche alla luce dei suoi rapporti con il Romulus.

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Trunel, Lucile. "A snapshot of some current digitisation projects in French art libraries." Art Libraries Journal 34, no. 1 (2009): 17–21. http://dx.doi.org/10.1017/s0307472200015716.

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The Gallica programme of the Bibliothèque nationale de France, and the Digital Library of the Institut national d’histoire de l’art (INHA), are two major French initiatives in the digitisation of art history information. Gallica was launched in 1995 and by the end of 2007 incorporated some 80,000 images and 90,000 texts. Essentially encyclopaedic in content, it nevertheless contains much material relevant to art, including iconographic documents from the library’s specialist departments. Mass digitisation of some 100,000 works per annum from 2007 onwards will add a substantial body of texts and periodicals in this subject. INHA’s digitisation programme for its Digital Library began in 2002: the two main areas it is currently concentrating on are a corpus of ‘classics of art history’, and the digitisation of specialised and rare documents such as the pre-1920 catalogues of the Louvre. 200,000 images are already available on line.

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Sorieul, Françoise. "Patrimoine imprimé des pays francophones du Sud. Ressources bibliographiques dans les collections de la Bibliothèque nationale de France avant 1970 (Cédérom). Paris : Agence de la Francophonie; Bibliothèque nationale de France, 1997." Documentation et bibliothèques 45, no. 2 (1999): 87. http://dx.doi.org/10.7202/1032770ar.

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Caldwell, Mary Channen. "‘FLOWER OF THE LILY’: LATE-MEDIEVAL RELIGIOUS AND HERALDIC SYMBOLISM IN PARIS, BIBLIOTHÈQUE NATIONALE DE FRANCE, MS FRANÇAIS 146." Early Music History 33 (2014): 1–60. http://dx.doi.org/10.1017/s0261127913000119.

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Paris, Bibliothèque nationale de France, MS français 146 (fr. 146), a manuscript well known for its inclusion of theRoman de Fauvel, also provides an important, albeit understudied, contribution to the history surrounding the allegorical ‘flower of the lily’, or fleur-de-lis – a floral symbol central to fourteenth-century theology and French royal heraldry. In medieval France, the fleur-de-lis emerges through text and music as a symbol capable of invoking, and being invoked by, the Holy Trinity, the Virgin Mary and the Virtues, all in the interest of supporting the religious and monarchical well-being of France. This study argues that the persistent return to the fleur-de-lis throughout thedits, theChronique metriqueand most especially the music and text ofFauvelin fr. 146 offers a necessary link between sacred and heraldic symbology both within the manuscript as well as within the larger historical development of this allegorical flower.

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Napolitano, David. "Taking another look at the Pastoral Eye - New insights based upon a second copy of the Oculus Pastoralis." Scriptorium 72, no. 1 (2018): 76–92. http://dx.doi.org/10.3406/scrip.2018.4462.

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This article focuses on the opening text of a miscellany held by the Bibliothèque nationale de France (Paris, BNF, lat. 4686). Upon closer examination the text turns out to be a missing copy of the Oculus pastoralis, untapped by the three editors of the text whose editions are all based upon a single copy (Cleveland (Ohio, USA), Public Library, Wq 789.0921 M-C 37). This article aims to broaden the awareness of the existence of this second copy within the scholarly community. In addition, it intends to demonstrate that this witness profoundly alters our current understanding of the structure, contents and composition of the Oculus pastoralis.

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Sénié, Jean. "Olivier P oncet , Mazarin : l’art de gouverner , Paris, Perrin / Bibliothèque nationale de France, « Bibliothèque des illustres », 2021, 256 p., 26 × 18 cm." Dix-septième siècle 301, no. 4 (January 25, 2024): 771–74. http://dx.doi.org/10.3917/dss.234.0771.

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