Dissertations / Theses on the topic 'Napoléon Ier'
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Buclon, Romain. "Napoléon et Milan : mise en scène, réception et délégation du pouvoir napoléonien (1796-1814)." Thesis, Grenoble, 2014. http://www.theses.fr/2014GRENH006/document.
Full textThis thesis focuses on the political and cultural links between Napoleon and Milan from 1796 to 1814. The author pays particular attention to changes in production, reception and delegation of power from general Bonaparte to Napoleon Ist, King of Italy
Kern-Boquel, Anne. "Le Mythe de Napoléon dans la poésie française (1815-1848)." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040022.
Full textBetween 1815 and 1848, Napoleon became established as one of the major sources of inspiration in French poetry. Writers of all kinds – from the greatest poets of the age to lyricists of popular songs and part-time versifiers – took on the challenge of evoking a figure that came to be presented as the archetypal hero. This study aims to explore the corpus of Napoleonic poetry within the framework of the notion of literary myth : how, in what forms and with what consequences did the literary myth of Napoleon emerge in this poetry ?The following three objectives are thus proposed: to account for the historical birth of a literary myth ; to go beyond a fragmented analysis in order to identify an overarching structure ; to identify and situate the meanings of the literary myth in the broader context of Romanticism.A cataloguing of Napoleonic poetry serves as a starting point for an analysis that aims to marry chronological, thematic and aesthetic approaches to the myth. Each of the first four parts examines a chronological segment of the corpus, alternating between general presentations and more specific studies focusing on particular works : the transition from the representation of an epic hero to the representation of a mythical hero (1815-1821), the first blossoming of the myth, occurring together with a liberal rereading of Napoleon’s actions (1821-1830), the apogee of the myth (1830-1848), the decline and eventual redefining of the myth (1840-1848). The fifth part proposes a synthesis of the material that has been thus far assembled in order to explore the constitutive themes and the structures of the myth as well as its links to Romanticism
Sountoura, Karim fakoro. "Nation et littérature : gloires et servitudes littéraires sous le Premier Empire." Thesis, Montpellier 3, 2010. http://www.theses.fr/2010MON30045.
Full textThis thesis concerns a general study of the literary life under the first Empire. It is not only a question of redrawing the literary history of this underestimated period, but also of analyzing the reports connections which had the writers with the napoleonic regime. Furthermore, this literature, so weak in literary production in the public opinion, already expect from the next revival of the French letters after the bloody events of the Revolution. It is the one thus naturally which opens the way to all this plethora of famous authors who will carry the romanticism in its fulfillment. Our problem thus is to analyze the role of the authors of the beginning of the century such as Chateaubriand, Madame de Staël and Senancour in this spectacular hatching of the romantic writing. This work also aims at drawing up a complete board of the genres under the first Empire: the novel, the theater, the poetry are treated in depth by highlighting the novelties intervened in these literary forms, a particular attention is tuned to the talented figures which become famous in this literature. The press is studied in a detailed way, we were especially interested in the conditions in which the journalists wrote in papers; that is we reviewed the restrictive legislation organized by the regime to manage the public spirit. In province, the same binding measures were observed under the attentiveness of the prefects, a creation of Napoleon. The napoleonic conception of the power and its legitimacy which stand on the glory constitutes the skeleton of this chapter which analyzes profoundly the sights and the innovations of the Emperor in the management of the country affairs. So this work aspires to concern a new lighting the decade which saw Napoleon coming to power and forging an imagination since become legendary. We thus tried to correct this omission by undertaking this work which brings a new vision and a new knowledge of the first Empire outside clichés and stereotypes concerning the weakness of its literary production
Schlatt, Anna-Sarah. "Jean-Baptiste Lepère (1761-1844), „Architecte de l'Empereur” : die Zeichnungen der Paläste von Saint-Cloud, Meudon und Saint-Germain-en-Laye im Kontext der Architekturpolitik Napoleon I. 1811-1814." Thesis, Paris Sciences et Lettres (ComUE), 2019. http://www.theses.fr/2019PSLEP019.
Full textThe scientific examination of the inheritance of Jean-Baptiste Lepère conserved by the Wallraf-Richartz-Museum in Cologne is a desideratum of the early architectural history of the 19th century. The aim of this work is, to investigate the architectural politics of Napoleon I. on the basis of Lepère’s drawings of the Palaces of Saint-Cloud, Meudon and Saint-Germain-en-Laye. The architectural politics of the emperor include the architectural program and the organisation of the imperial construction firm. These two aspects will be represented in detail. Thereupon it will be explored in which way the construction firm of Napoleon operated concretely, by referring to the projects at the three palaces. Which role do the constructor and architect play? How are the governmental directives reflected in the building activity? This work examines the years from 1811 until 1814, which span a period from the point of culmination of the Grand Empire with the birth of the Roi de Rome until the abdication of Napoleon. Therefore it is necessary to analyse the consequences of the political development on Lepère’s architectural projects. To capture Napoleon's architectural policy precisely, decrees firstly time discovered in the archives, concerning the organisation of the imperial construction firm, will be used. Based on the decrees, the tasks and functions of the individual offices of the construction firm can be declared. Furthermore the roots of the Ancien Régime and innovations of Napoleon I. are to be clarified. This raises the question as to what political intentions hide behind the decrees, respectively behind the new organisation? The architectural preconditions for Lepère as an architect will be clarified with the help of the existing literature concerning the three palaces. In this dissertation, 65 drawings of the Palaces of Saint-Cloud, Meudon and Saint-Germain-en-Laye will be described, analyzed and put into context with the architectural policy of Napoleon I. In order to place the drawings into context, they will be attributed to individual project-chapters with the help of previously undiscovered documents in the archives. Within one chapter dedicated to one project the drawings will be illustrated and information of the inventory number, inheritance, artist, material, technique, dimensions, restoration and archival documents will be presented. Afterwards the details about the inscriptions like title, signature, dating, measure rod, measures and the reverse side succeed. Followed by a description of the drawing and a reconstruction of the context of the project based on the archival documents, that had to be prepared according to the instructions of the government. A stylistic analysis of Lepère’s designs will explore and evaluate his personal interpretation of a napoleonic architecture of palaces in consideration of biographical aspects and the private library of Lepère. Doing so will clarify, which typological and formal repertoire Lepère used. The design of the plans will be classified in context with classicism, architectural concepts of the revolution period as well as ideas of an imperial representation architecture during the Premier Empire. A closing chapter will reveal, with aid of the acquired results, the aim of Napoleon’s architectural policy and summarize the consequences of the civil service for Lepère’s projects on the three palaces. The illustrations and informations of the drawings will not be presented in a catalogue at the end of this dissertation but in the beginning of each chapter dedicated to one project. The significant documents in the archives allow to determine the evolution of the projects. This dissertation aims to establish a context between the drawings, the building history and the process of the projects
Sampsonis, Florence. "Entre le roi et le prince : la principauté de Morée aux mains des rois de Sicile : Charles 1er et Charles II d'Anjou (1267-1309)." Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01H021.
Full textBased on the thorought study of the Angevins registers of Naples, this doctoral thesis aims at analysing the caracteristics of the Angevin power established in the principality of Morea, from its transfer by prince William of Villehardouin to the king Charles Ist of Anjou in 1309, until the death of Charles II of Anjou in 1309. Superior lords of the principality during this period, and effective princes of Morea between 1278 and 1289, the kings of Sicily cared about governing this territory, installing an efficient and centralized administration, leaning both on the human resources of their kingdom and on the Moreotes elites, leading their politics in the respect of the local customs. They didn't change the feodal and religious structures of the principality, and they stimulated commercial exchanges with Morea. They imposed their authority to the princes and the princess Isabelle of Villehardouin. The angevins succed in managing several conflicts, even the one between the prince and the duke of Athens. But they couldn't retake the territories capures by the Byzantins : if Charles Ist lead several military operations in the Peloponese without real success, the Sicilian Vespers crisis put an end to his military ambitions. Charles II let the defense of the principality to the prince hands. The principilaty of Morea became dependant on the kingdom of Sicily, especially with the deposition of the princess Isabelle in 1304, and became then a mere peripheral province of the kingdom of Sicily
Kern, Émile. "Représentations et images contrastées de Napoléon dans les commémorations : de 1869 à 2009." Thesis, Montpellier 3, 2011. http://www.theses.fr/2011MON30093/document.
Full textBetween 1869 and 2009 Napoleon Bonaparte was much commemorated through cultural events to celebrate the great periods of his life and his political or military career. Those commemorations took place within various national and international contexts. Under the reign of Napoleon the Third, there was a certain indifference, not to say a lot of reluctance to honor the founder of the dynasty, in a difficult context for the Emperor of the Second Empire. During the Third Republic that interest for Napoleon went from a restrained commitment to a very strong undeniably during the bicentenary of his birth in 1969. As for the other bicentenaries between 1993 and 2009, there were times of disinterest alternating with times of tension like that caused by the controversies in 2005, and also times of increased publishing. Napoleon can therefore be seen as a historical character, who cannot be easily commemorated, in a country where he still stands as a very important person in the cultural scene and that even two hundred years after he resigned
Omes, Marco Emanuele. "La festa di Napoleone : sovranità, legittimità e sacralità nell'Europa francese (repubblica/impero francese, Repubblica/Regno d'Italia, Regno di Spagna, 1799-1814)." Doctoral thesis, Scuola Normale Superiore, 2019. http://hdl.handle.net/11384/86067.
Full textSazio, Solène. "Hippolyte Bellangé (1800-1866), reconnaissance et oubli d'un artiste aux origines de la légende napoléonienne." Thesis, Normandie, 2018. http://www.theses.fr/2018NORMR021.
Full textHippolyte Bellangé had a long career that extended from the Restoration to the Second Empire. After exhibiting his first paintings at the Salon of Paris in 1822, this disciple of Jean-Antoine Gros quickly established himself in the artistic environment as one of the main promoters of the Napoleonic legend. Raised during the full glory and effervescence of the First Empire, he belonged to a generation of artists who, the day after Waterloo, transposed into their work a whole palette of melancholy and nostalgia towards that past glow they half-caught a glimpse of, half-fantasized about. Bellangé's success, which was strongly correlated to a context that was supportive to the spread of Napoleonic legend, gives an interesting insight into the evolution of public opinion on the one hand, and political attitudes on the other, towards the figure of Napoleon Bonaparte.His works are also characterized by the application he puts into the evocation and description of everyday life. His moving to Rouen gave him the opportunity to create a renewed iconography of the Norman countryside. Simultaneously a public figure and a multifaceted artist, his career has also been marked by his position as curator of the Musée des Beaux-arts of Rouen. This multidisciplinary background definitely offers a remarkable field of study and a valuable documentation on the careers and the status of artists in the mid-nineteenth century. The analysis of the life and work of Hippolyte Bellangé, reviewed in their political context, finally gives us the opportunity to question the notions of committed art, popular art and patriotic art in the years following the First Empire
Renucci, Charles. "Histoire politique, patrimoniale et festive de la mémoire napoléonienne à Ajaccio ,1806-1969." Thesis, Tours, 2012. http://www.theses.fr/2012TOUR2024.
Full textThis study of the Napoleonian memory in Ajaccio from the time of the Consulate to the Fifth Republic shows that a specific bond exists between the historical figure and the city. Beyond the various and highly visible marks that can nowadays be noticed in the fields of arts, urbanism or toponymy, it rests plainly on the fact that Napoleon was born in Ajaccio on 15 August, 1769.The city has never been a governing place, nor an Imperial residence or a place of highly symbolic value (such as military victories or defeats) ; it is simply is Napoeon's hometown and this implies that their relationship does not rest exclusively on Napoleon's destiny. To study this relationship, it is necessary to see how the myth, the legend or the cult of Napoleon have in the long run invaded the everyday life of the inhabitants of the city. Such a study must be conducted at various levels, including political, patrimonial or festal history, in order to find out how a Napoleonian memory grew out locally. The more we refine the study, the clearer it is that this memory bore a distinctive identitarian dimension ; Ajaccians could thus proudly proclaim their origins and at the same time feel fully French, just like the rest of the Corsicans. This identitarian dimension was palpable right from the time of the Consulate, and it was the ground on which this Napoleonian memory developed in Ajaccio, and became a long standing trait in the history of this city
Knels, Eva Maria. "Le Salon et la scène artistique à Paris sous Napoléon I. Politique artistique – Stratégies d’artistes – Échos internationaux." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040065.
Full textThis doctoral thesis examines the Salons of living artists under the reign of Napoleon I, which are primarily known for the prominent role they played in the context of cultural politics of that time. After 1799, the Salon rapidly became an important instrument of art and cultural politics used by the ruling government to symbolically legitimise and support the political system. Given the major changes to the exhibition in these years, artists had also had to adapt to the new political and administrative structures whilst, at the same time, reacting to new artistic trends in order to stand up to the strong competition at the Salon. The exhibition's success in these years is not only reflected by the rising numbers of exhibiting artists and visitors. Also its wide-ranging coverage in the media, such as newspaper articles, letters, travelogues and graphic anthologies, is further proof of the exhibition's relevance and reach, sometimes even beyond national frontiers. Indeed, the exhibition's close locality to the famous Musée Napoléon, with its large collection of master pieces confiscated from European collections by the French armies, added further attention paid by European travellers to the Salon and the French contemporary art on display there. The aim of this doctoral thesis is to analyse the organisation of the exhibition, the range of participating artists as well as the international response it created whilst taking into consideration the complex transformation of art and the French art scene at the beginning of 19th century. By doing so, the dissertation focuses on the reciprocal relationship between art politics, artistic production and their reception
Omes, Marco Emanuele. "La festa di Napoleone : Sovranità, legittimità e sacralità nell’Europa francese (Repubblica/Impero francese, Repubblica/Regno d’Italia, Regno di Spagna, 1799-1814)." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL040.
Full textBy combining research methods from the cultural history of the politic with a comparative perspective, my dissertation covers the celebrations of the Napoleonic era that took place between 1799 and 1814 in the Republic (later, Empire) of France, in the Republic (later, Kingdom) of Italy, and in the Kingdom of Spain. My comparative perspective aims to show the existence of a model of Napoleonic celebration that was fairly uniform across the three geographical contexts I studied, especially in its basic principles, fundamental concepts and values conveyed. My study centres on the concepts of sovereignty, legitimacy and sacrality, and aims to shed light on their interplay and their significance in the context of Napoleonic-era civic festivities, especially in terms of the forms of symbolic, visual and discursive representation that were used. My analysis of these forms of representation will allow the reader to better understand not only the manifestations of Napoleonic power, but also its ideological underpinnings, characteristics, and evolution over time
Omes, Marco Emanuele. "La festa di Napoleone : Sovranità, legittimità e sacralità nell’Europa francese (Repubblica/Impero francese, Repubblica/Regno d’Italia, Regno di Spagna, 1799-1814)." Electronic Thesis or Diss., Sorbonne université, 2019. http://www.theses.fr/2019SORUL040.
Full textBy combining research methods from the cultural history of the politic with a comparative perspective, my dissertation covers the celebrations of the Napoleonic era that took place between 1799 and 1814 in the Republic (later, Empire) of France, in the Republic (later, Kingdom) of Italy, and in the Kingdom of Spain. My comparative perspective aims to show the existence of a model of Napoleonic celebration that was fairly uniform across the three geographical contexts I studied, especially in its basic principles, fundamental concepts and values conveyed. My study centres on the concepts of sovereignty, legitimacy and sacrality, and aims to shed light on their interplay and their significance in the context of Napoleonic-era civic festivities, especially in terms of the forms of symbolic, visual and discursive representation that were used. My analysis of these forms of representation will allow the reader to better understand not only the manifestations of Napoleonic power, but also its ideological underpinnings, characteristics, and evolution over time
Haegele, Vincent. "La famille Bonaparte et la gestion de l’héritage révolutionnaire : enjeux politiques et économiques au sein de l’espace européen." Electronic Thesis or Diss., Sorbonne université, 2021. http://www.theses.fr/2021SORUL029.
Full textFrom its beginning, the French Revolution was the part of an international framework: throughout the 1780s, reforms and crisis in the foreign countries had a large echo in the internal political debate. The conclusion of the Franco-British commercial treaty in 1786 has been seen as a major political error by a growing part of the French public opinion. People were alarmed by the capability of the country’s economy to face the weight of British rival. The Revolution soon questions the fundamental bases of French society but also its relations with foreign powers, whose diplomatic language is no longer understandable. In 1792, the entry into the war was inevitable. Glorious in the military field, France was not however spared by the political crises engendered by the successive constitutional experiments. In 1800, the general Napoleon Bonaparte seized power and consolidated the revolutionary legacy, within the borders, but also abroad. Although he claimed to close the cycle started in 1789, Napoleon gave it a new dimension whose purpose was to build an Empire beyond natural borders. This implied a new diplomatic organisation and endowing allied or satellite states with institutions inspired by the model he personally embodied by using the codes and symbols of the monarchy for his own benefits. Yet this model was not without weakness. This work aims to present the role of the Bonaparte family in the appropriation of revolutionary ideas and in their transmission across Europe
Vial, Charles-Eloi. "Les chasses des souverains en France (1804-1830)." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040222.
Full textHunting had always been the privileged activity of kings since the mediaeval period, and for the later Bourbons it became a consuming passion. Indeed Louis XV and Louis XVI were to be criticized by a proto public opinion ; it was thought that hunts were expensive and that they distracted the rulers from the duties of government. The royal hunts disappeared with the fall of the monarchy. But Napoleon, with his desire to appropriate the outward show of monarchical legitimacy, brought it back. Marshal Berthier was appointed Grand veneur and given the task of organizing the imperial hunt in exactly the same way as it had been done under Louis XVI. Napoleon made the hunts a powerful political instrument and a Court indulgence whilst at the same time making considerable savings. The Restoration in fact chose not to revive Ancien Régime customs but preserved the Napoleonic hunting administration. This gave rise to the paradox of a Restoration attempting to reinvigorate monarchical traditions but using structures created by Napoleon. This is that strong continuity, human, budgetary, but also political and symbolic, inside a geographical field concentrated around Paris that made it possible for the Court to circulate around the different imperial hunting residences, to dedicate certain days to the hunts, and to invite some important political figures. All of these aspects are to be found in the sources : archives, newspapers, autobiographies, artworks
Vial, Charles-Eloi. "Les chasses des souverains en France (1804-1830)." Electronic Thesis or Diss., Paris 4, 2013. http://www.theses.fr/2013PA040222.
Full textHunting had always been the privileged activity of kings since the mediaeval period, and for the later Bourbons it became a consuming passion. Indeed Louis XV and Louis XVI were to be criticized by a proto public opinion ; it was thought that hunts were expensive and that they distracted the rulers from the duties of government. The royal hunts disappeared with the fall of the monarchy. But Napoleon, with his desire to appropriate the outward show of monarchical legitimacy, brought it back. Marshal Berthier was appointed Grand veneur and given the task of organizing the imperial hunt in exactly the same way as it had been done under Louis XVI. Napoleon made the hunts a powerful political instrument and a Court indulgence whilst at the same time making considerable savings. The Restoration in fact chose not to revive Ancien Régime customs but preserved the Napoleonic hunting administration. This gave rise to the paradox of a Restoration attempting to reinvigorate monarchical traditions but using structures created by Napoleon. This is that strong continuity, human, budgetary, but also political and symbolic, inside a geographical field concentrated around Paris that made it possible for the Court to circulate around the different imperial hunting residences, to dedicate certain days to the hunts, and to invite some important political figures. All of these aspects are to be found in the sources : archives, newspapers, autobiographies, artworks
Varlan, Olivier. "Armand-Louis de Caulaincourt, duc de Vicenze (1773-1827). Étude d’une carrière diplomatique sous le Premier Empire, de la cour de Napoléon au ministère des Relations extérieures." Electronic Thesis or Diss., Paris 4, 2013. http://ezproxy.normandie-univ.fr/login?url=https://www.numeriquepremium.com/doi/10.14375/NP.9782369426998.
Full textA cavalry officer born into Picardy's landed gentry, Armand de Caulaincourt rose rapidly through the ranks of the consular, and later the imperial court, to become in 1804 Grand Squire of the Empire. However, notwithstanding the importance of his curial functions, Napoleon destined him to a diplomatic career. After several missions, he was appointed as Ambassador of France to Russia (1807). Caulaincourt took part in all the major negotiations between France and Russia, but was forced to witness a slow breakdown in relations between the two Empires. At the time of his return to Paris in 1811, his political accomplishments were unimpressive. His stalwart defense of Tsar Alexander, and especially his opposition to the upcoming military campaign, were an irritation to Napoleon. Nevertheless, these stances allowed him to gain new stature after the disaster in Russia : in the eyes of his contemporaries, he became the “Peacemaker”, an image Napoleon used to his advantage by appointing him his representative at the congresses in Prague (1813) and in Châtillon (1814). The Duke of Vicenza, now Minister for Foreign Affairs, could not, however, broker an agreement in favour of peace : he was forced to negotiate Napoleon's abdication and to give up any hope of political career after the Hundred Days. This study, based on Caulaincourt's personal records and famous Memoirs, aims at restoring a major figure of the First French Empire to his due importance, while focusing on his action and thought in the field of diplomacy. The exemplary value of his career should also allow historians to reconsider and reevaluate the role of Napoleon's diplomatic personnel
Varlan, Olivier. "Armand-Louis de Caulaincourt, duc de Vicenze (1773-1827). Étude d’une carrière diplomatique sous le Premier Empire, de la cour de Napoléon au ministère des Relations extérieures." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040252.
Full textA cavalry officer born into Picardy's landed gentry, Armand de Caulaincourt rose rapidly through the ranks of the consular, and later the imperial court, to become in 1804 Grand Squire of the Empire. However, notwithstanding the importance of his curial functions, Napoleon destined him to a diplomatic career. After several missions, he was appointed as Ambassador of France to Russia (1807). Caulaincourt took part in all the major negotiations between France and Russia, but was forced to witness a slow breakdown in relations between the two Empires. At the time of his return to Paris in 1811, his political accomplishments were unimpressive. His stalwart defense of Tsar Alexander, and especially his opposition to the upcoming military campaign, were an irritation to Napoleon. Nevertheless, these stances allowed him to gain new stature after the disaster in Russia : in the eyes of his contemporaries, he became the “Peacemaker”, an image Napoleon used to his advantage by appointing him his representative at the congresses in Prague (1813) and in Châtillon (1814). The Duke of Vicenza, now Minister for Foreign Affairs, could not, however, broker an agreement in favour of peace : he was forced to negotiate Napoleon's abdication and to give up any hope of political career after the Hundred Days. This study, based on Caulaincourt's personal records and famous Memoirs, aims at restoring a major figure of the First French Empire to his due importance, while focusing on his action and thought in the field of diplomacy. The exemplary value of his career should also allow historians to reconsider and reevaluate the role of Napoleon's diplomatic personnel
Denis, Béatrice. "Le bivouac d’Austerlitz selon Louis-François Lejeune : les guerres napoléoniennes entre construction identitaire et construction historique." Thesis, 2020. http://hdl.handle.net/1866/25087.
Full textPainter, soldier, and memorialist Louis-François Lejeune (1775-1848) conceived his battle paintings and his memoirs, Souvenirs d’un officier de l’Empire (1851), as historical testimonies of the Napoleonic period, destined for posterity. This twinning of paintings and memoirs mirrors the duality of Napoleonic propaganda as a whole, which disseminates a single version of military events with the help of unprecedented information tools such as the Bulletins de la Grande Armée. This written narrative, already thought of as historical, is picked up again in the paintings commissioned by the government. This master’s thesis argues that Lejeune contributes in a unique way to this historical narrative, first at an individual level by constructing his identity from his participation in the Napoleonic wars, and also at a state level. His Bivouac d’Austerlitz, presented at the 1808 Salon, was commissioned by the government as part of a larger order. It is shown that this painting fits first into Lejeune’s career, then into his cycle of battle paintings, and finally into the narrative of Austerlitz that Napoleon himself promoted. The episodic form of this painting can be explained by the deliberate pairing of written and pictorial narratives, which borrows from the 30th bulletin de la Grande Armée where Napoleon recounts the victory at Austerlitz. This painting thus contributes to the historical construction of the battle. As deep transformations threatened the academic genre hierarchy at the turn of the nineteenth century, the duality of Lejeune’s persona as soldier and painter helped promote the historical function given to paintings under Napoleon.