Relevant bibliographies by topics / National monuments – France

Academic literature on the topic 'National monuments – France'

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Published: 10 March 2023

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Journal articles on the topic "National monuments – France"

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Jobert, Veronique. "National Identity and pacifsm: two sides of the same military memory." Inter 11, no. 17 (2019): 76–81. http://dx.doi.org/10.19181/inter.2019.17.5.

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The article is devoted to the analysis of the memorializing strategy of the heroes and victims of the First World War in France. It is revealed on the examples of the history of several monuments in various provincial departments. The article shows that some of these monuments have been established not as the state agencies initiative, but by grass-route activists, and, in contrast to common militaristic messages, the commemoration of soldiers and victims by this monuments has frankly pacifist features.
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Wüstenberg, Jenny. "Berlin's Changing Memory Landscape: New Scholarship in German and English." German Politics and Society 24, no. 2 (June 1, 2006): 82–88. http://dx.doi.org/10.3167/104503006780681911.

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Claus Leggewie and Erik Meyer, “Ein Ort, an den man gerne geht” Das Holocaust-Mahnmal und die deutsche Geschichtspolitik nach 1989 (Munich: Carl Hanser Verlag, 2005)Karen E. Till, The New Berlin: Memory, Politics, Place (Minneapolis: University of Minnesota Press, 2005)Peter Carrier, Holocaust Monuments and National Memory Cultures in France and Germany since 1989: The Origins and Political Function of the Vél’ d’Hiv’ in Paris and the Holocaust Monument in Berlin (New York: Berghahn Books, 2005)
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Naeem, Anila. "17th ICOMOS General Assembly, Paris, France." International Journal of Cultural Property 19, no. 4 (November 2012): 545–47. http://dx.doi.org/10.1017/s094073911200032x.

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The 17th General Assembly of the International Council on Monuments and Sites (ICOMOS) took place at the UNESCO Headquarters, Paris (France), from 27 November to 2 December 2011, under the high patronage of Irina Bokova, Director General of UNESCO, and Nicolas Sarkozy, President of the French Republic. The events included meetings of the Advisory and Executive Committees, the Scientific Council, International Scientific Committees (ISCs); the Scientific Symposium; and the General Assembly. According to the ICOMOS official report, this conference had a record attendance of 1200 registered participants, representing 106 countries and 77 National Committees. The generous grants offered to National Committees through the ICOMOS Victoria Falls Fund and the Getty Foundation made it possible for 63 professionals from 47 countries to attend the event.
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Kott, Sandrine, and Thomas Wieder. "The (Re-)construction of Monuments in Germany: New Historical Narratives in a Time of Nation-building." Contemporary European History 32, no. 1 (January 23, 2023): 3–8. http://dx.doi.org/10.1017/s0960777322000467.

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In the slipstream of the Black Lives Matter movement in the United States, there has been a global mobilisation around monuments and statues of famous figures involved in the slave trade and European colonial conquest. In former colonial states – such as France and Britain – and states shaped by the legacies of slavery – such as the United States – activists have defaced, damaged or torn down monuments associated with these contested pasts. This is hardly a novelty. The destruction of physical symbols is often a response to regime change. But, in this case, the mobilisation has taken a different form. Instead of legitimising a new regime and new elites, the destruction of monuments is part of a demand for justice from historically marginalised groups who are seeking to reclaim their heritage. The deconstruction of these monuments automatically entails the deconstruction of dominant national narratives that have contributed to such marginalisation.
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FREEMAN, KIRRILY. "Incident in Arles: Regionalism, Resistance and the Case of the Statue of Frédéric Mistral." Contemporary European History 16, no. 1 (February 2007): 37–50. http://dx.doi.org/10.1017/s0960777306003614.

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AbstractOn 11 October 1941 the Vichy government passed legislation mandating the dismantling and smelting of French bronze statues and monuments in the public domain. Crippled by copper shortages and bound by the terms of the Franco-German armistice, the etat français sought to ‘mobilise’ all potential sources of non-ferrous metals, including public statuary. The statue of Mistral in Arles was one of the monuments that were dismantled. The destruction of this tribute to the Provençal poet and founder of the Félibrige sparked considerable protest and opposition, but from an unusual quarter – supporters of Pétain's National Revolution. The case of the destruction of the statue of Mistral in Arles reveals the intersection of regionalism and resistance in wartime France and challenges many of our perceptions about both these movements.Ame de Mon PaysAme éternellement renaissanteAme joyeuse, fière et viveQui hennis dans le bruit du Rhône et de son vent!Ame des bois pleins d'harmonieEt des calanques pleines de soleilDe la patrie, âme pieuseJe t'appelle! Incarne-toi dans mes vers provençaux!1
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Zernetska, O., and O. Myronchuk. "Historical Memory and Practices of Monumental Commemoration of World War I in Australia (Part 1)." Problems of World History, no. 12 (September 29, 2020): 208–24. http://dx.doi.org/10.46869/2707-6776-2020-12-11.

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The authors’ research attention is focused on the specifics of the Australian memorial practices dedicated to the World War I. The statement is substantiated that in the Australian context memorials and military monuments formed a special post-war and post-traumatic part of the visual memory of the first Australian global military conflict. The features of the Australian memorial concept are clarified, the social function of the monuments and their important role in the psychological overcoming of the trauma and bitter losses experienced are noted. The multifaceted aspects of visualization of the monumental memory of the World War I in Australia are analyzed. Monuments and memorials are an important part of Australia’s visual heritage. It is concluded that each Australian State has developed its own concept of memory, embodied in various types and nature of monuments. The main ones are analyzed in detail: Shrine of Remembrance in Melbourne (1928–1934); Australian War Memorial in Canberra (1941); Sydney Cenotaph (1927-1929) and Anzac Memorial in Sydney (1934); Desert Mounted Corps Memorial in Western Australia (1932); Victoria Memorials: Avenue of Honour and Victory Arch in Ballarat (1917-1919), Australian Ex-Prisoners of War Memorial (2004), Great Ocean Road – the longest nationwide memorial (1919-1932); Hobart War Memorial in the Australian State of Tasmania (1925), as well as Villers-Bretonneux Australian National Memorial in France dedicated to French-Australian cooperation during the World War I (1938). The authors demonstrate an inseparable connection between the commemorative practices of Australia and the politics of national identity, explore the trends in the creation and development of memorial practices. It is noted that the overwhelming majority of memorial sites are based on the clearly expressed function of a place of memory, a place of mourning and commemoration. It was found that the representation of the memorial policy of the memory of Australia in the first post-war years was implemented at the beginning at the local level and was partially influenced by British memorial practices, transforming over time into a nationwide cultural resource.
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Zernetska, O., and O. Myronchuk. "Historical Memory and Practices of Monumental Commemoration of World War I in Australia (Part 2)." Problems of World History, no. 13 (March 18, 2021): 203–21. http://dx.doi.org/10.46869/2707-6776-2021-13-10.

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The authors’ research attention is focused on the specifics of the Australian memorial practices dedicated to the World War I. The statement is substantiated that in the Australian context memorials and military monuments formed a special post-war and post-traumatic part of the visual memory of the first Australian global military conflict. The features of the Australian memorial concept are clarified, the social function of the monuments and their important role in the psychological overcoming of the trauma and bitter losses experienced are noted. The multifaceted aspects of visualization of the monumental memory of the World War I in Australia are analyzed. Monuments and memorials are an important part of Australia’s visual heritage. It is concluded that each Australian State has developed its own concept of memory, embodied in various types and nature of monuments. The main ones are analyzed in detail: Shrine of Remembrance in Melbourne (1928–1934); Australian War Memorial in Canberra (1941); Sydney Cenotaph (1927-1929) and Anzac Memorial in Sydney (1934); Desert Mounted Corps Memorial in Western Australia (1932); Victoria Memorials: Avenue of Honour and Victory Arch in Ballarat (1917-1919), Australian Ex-Prisoners of War Memorial (2004), Great Ocean Road – the longest nationwide memorial (1919-1932); Hobart War Memorial in the Australian State of Tasmania (1925), as well as Villers-Bretonneux Australian National Memorial in France dedicated to French-Australian cooperation during the World War I (1938). The authors demonstrate an inseparable connection between the commemorative practices of Australia and the politics of national identity, explore the trends in the creation and development of memorial practices. It is noted that the overwhelming majority of memorial sites are based on the clearly expressed function of a place of memory, a place of mourning and commemoration. It was found that the representation of the memorial policy of the memory of Australia in the first post-war years was implemented at the beginning at the local level and was partially influenced by British memorial practices, transforming over time into a nationwide cultural resource.
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Julien, Elise. "Paris und Berlin nach dem Ersten Weltkrieg: Eine symbolische Nationalisierung der Hauptstädte?" Militaergeschichtliche Zeitschrift 73, no. 1 (June 1, 2014): 51–88. http://dx.doi.org/10.1515/mgzs-2014-0003.

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Abstract At the end of the First World War, the memories of the conflict which developed in France and Germany diverged widely. However, Paris and Berlin were something else than just a genuine reflection of their respective national context; their status as capital cities gave them common characteristics. Therefore some similar phenomena appear. On the one hand, those cities may offer a national backing to particular memories, which was especially sought. On the other hand, the concentration of marks of memory in those cities tended to consolidate them in an always more exclusively national role. Thus, a kind of reciprocal nationalization of memory by capital cities and of capital cities by memory occurred. This nationalization is particularly visible in the analysis of the national monuments that emerged in the post-war years. Nevertheless, such phenomena underline variations between Paris and Berlin: Paris stood out without any difficulty as the capital of France, even of the Allied world, while Berlin stood out as the capital of Prussia, with more difficulty as the capital of Germany.
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Herbouze, Renée. "Les centres de documentation du patrimoine." Art Libraries Journal 23, no. 3 (1998): 11–19. http://dx.doi.org/10.1017/s030747220001107x.

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La Direction du Patrimoine, qui relève du Ministère de la Culture et de la Communication, a pour missions ‘de conserver, de protéger et de mettre en valeur le patrimoine national de la France’, le patrimoine étant entendu comme le bien reçu des générations qui nous ont précédés et que nous avons la volonté de transmettre aux suivantes.Le mouvement de déconcentration mis en oeuvre par l’administration française a eu pour effet de confier la prise en charge opérationnelle de ces missions aux Directions régionales des Affaires culturelles (DRAC). Ainsi, dans les 26 régions de France, chaque DRAC compte en principe en son sein quatre services régionaux du patrimoine: respectivement, de l’Archéologie, des Monuments historiques, de l’Ethnologie et de l’Inventaire, la Direction centrale assumant le rôle de définir la politique générale, d’impulser les actions et de les coordonner, enfin de les évaluer.
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Richardin, P., N. Gandolfo, B. Moignard, C. Lavier, C. Moreau, and E. Cottereau. "Centre of Research and Restoration of the Museums of France: AMS Radiocarbon Dates List 1." Radiocarbon 52, no. 4 (2010): 1689–700. http://dx.doi.org/10.1017/s0033822200056423.

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The national project for the measurement of radiocarbon includes different scientific partners for the accelerator named ARTEMIS (French acronym for Accélérateur pour la Recherche en sciences de la Terre, Environnement, Muséologie Installé à Saclay), available to the scientific community since 2004 (Cottereau et al. 2007). The French Ministry of Culture uses this accelerator mass spectrometry (AMS) facility at the request of archaeologists or curators of museums or of historical monuments. For the preparation of some samples, a laboratory has been installed at the Centre of Research and Restoration of the Museums of France, located in the Louvre Palace. In this report, the first data carried out on vegetal samples from museum objects or archaeological remains, dates are presented in terms of yr BP (before AD 1950).
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Dissertations / Theses on the topic "National monuments – France"

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Carrier, Peter. "Monuments and national memory cultures in France and Germany since 1989 the "Vél d'Hiv" in Paris and the Holocaust Monument in Berlin = Denkmäler und nationale Erinnerungskulturen in Frankreich und Deutschland seit 1989 /." [S.l. : s.n.], 2000. http://www.diss.fu-berlin.de/2002/112/index.html.

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Iogna-Prat, Paul. "Le patrimoine culturel entre le national et le local : chances et limites de la décentralisation." Phd thesis, Université d'Angers, 2009. http://tel.archives-ouvertes.fr/tel-00435144.

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Préoccupation du pouvoir politique depuis la Révolution française, le monument historique est au service de la construction de la Nation.L'Etat impulse, sous la Monarchie de Juillet, une véritable politique publique animée par une administration spécifique dotée de moyens financiers et d'un corpus législatif et réglementaire. Cette politique a conduit à une véritable étatisation du patrimoine culturel à travers les monuments historiques, les monuments naturels et les sites, puis le patrimoine urbain (secteurs sauvegardés). Cette centralisation étatique a rapidement montré ses limites et ses lacunes : l'importance des moyens financiers nécessaires et la lourdeur de l'action étatique ont alors poussé à rechercher d'autres voies. L'ampleur de la tâche, sans cesse accentuée par l'élargissement du champ patrimonial, et l'émergence du principe de subsidiarité, ont conduit l'Etat à associer les collectivités territoriales à cette mission d'intérêt public, puis à organiser progressivement certains transferts de compétences. Les collectivités territoriales ont également pris conscience de l'importance de leur patrimoine comme symbole identitaire et source de développement. Dans le même temps les citoyens en ont mesuré l'intérêt dans leur environnement quotidien. Dans cette évolution qui amène l'Etat à se recentrer sur ses fonctions régaliennes et les collectivités territoriales à assumer des responsabilités patrimoniales, l'équilibre demeure difficile à trouver, d'autant que l'exigence de démocratie participative implique d'associer plus étroitement les citoyens à cette politique publique patrimoniale.
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Mondenard, Anne de. "Le fonds de photographies du Musée des monuments français : les épreuves révélées de la Mission héliographique /." Paris : Ecole du Louvre, 1996. http://catalogue.bnf.fr/ark:/12148/cb358145856.

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Kim, Hangyul. "L'usage des maîtres anciens dans le discours de l'art national en France, 1780-1850." Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H054.

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Ce travail étudie la place particulière accordée aux « maîtres anciens » dans la littérature artistique et les pratiques muséales depuis la Révolution jusqu’au milieu du XIXe siècle en France. Dès la fin de l’Ancien Régime, la définition des « maîtres anciens » connaît une transition progressive : des artistes de la Grèce antique aux fondateurs de l’École nationale. Par l’usage de leurs noms et de leurs vertus artistiques mais aussi morales, l’art national en France doit acquérir une notoriété digne d’une République nouvelle qui puisse rivaliser avec les autres écoles nationales prééminentes. Cette nouvelle prépondérance des maîtres anciens français doit répondre au souci républicain de l’instruction publique, en assurant la diffusion de la connaissance de l’histoire nationale et des qualités édifiantes par voie de la « vision » : leurs œuvres exposées dans des espaces ad hoc et leur image représentée dans la production artistique contemporaine en tant que grands hommes, héros et pères de la Nation. Les textes d’Alexandre Lenoir, d’Émeric-David et de La Décade ont été explorés dans cette optique, avant la considération de la disposition d’œuvres dans les musées et des catalogues, en particulier les Annales de Landon, et des créations artistiques dédiées à l’image des maîtres anciens. Redécouverts à dessein, les maîtres anciens contribuent à la construction d’une identité culturelle nationale et collective
This thesis problematises in historical context the identity of the ‘Old Masters’ in the literature on art and practices of museums in France from the time of the French Revolution until the mid-nineteenth century. Since the end of the Old Regime, the definition of the ‘Old Masters’ was transformed: a transition of principal elements, from the classical Greek artists to the founders of the National School, took place. This transition reflected the anxiety of the newborn French Republic facing an international rivalry in art history and myriad obstacles to its social and political goals. To meet the concerns of competition and emulation, the names as well as the artistic and moral qualities of ‘Masters’ were recognised, with emphasis, as being closely linked to public instruction and national history. The thesis analyses the texts and museum theories of Alexandre Lenoir and Toussaint-Bernard Émeric-David and the discussion of ‘Old Masters’ in the republican journal La Décade. Also analysed in this context are the displays of the Old Masters in the museums, catalogues (with a focus of Landon’s Annales) and works of art during the Revolution and the first half of the nineteenth century recreating the images of the Old Masters as national heroes or fathers of French art. This consciously performed reconstruction of the ‘Old Masters’ during the French Revolution made a crucial contribution to the formation of the cultural identity of France
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Baboulet-Flourens, Pascale. "La construction de l'imaginaire national dans une campagne française : ela célébration des morts à la guerre dans la société lotoise des années 1880 aux années 1990." Paris, EHESS, 2000. http://www.theses.fr/2000EHESA080.

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Cette thèse porte sur un axe de l'imaginaire national, celui qui se dessine autour des morts des deux guerres mondiales et de la guerre d'Algérie. Après avoir montré que les morts à la guerre constituaient une catégorie singulière de morts, construite de façon a faire fonctionner les principes qui président à l'idée de nation démocratique et laïque que le régime républicain a soutenue jusque dans les années 1980, l'Etude se centre sur l'attachement au territoire national et à la souveraineté de l'Etat et montre comment la figure du mort au combat les a traduit symboliquement. Enfin, l'évolution de l'utilisation des morts à la guerre permet de montrer que l'imaginaire national est fortement dépendant d'une pensée de la reproduction sociale de soi dans la sédentarité. Développée dans le cadre d'une anthropologie de systèmes symboliques, la thèse sonde des dires, des objets et des pratiques à l'oeuvre dans la société locale, afin de dégager les contours d'une pensée de la nation développée entre la fin du xixème et la fin du xxème siècle. L'étude a été menée a partir d'un terrain lotois sans toutefois s'y limiter, ce qui a permis d'étendre certaines de ses conclusions à l'ensemble de la France.
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Carpentier-Vanhaverbeke, Valérie. "Le vie des monuments de l'Etat : histoire de la Caisse nationale des monuments historiques (1912-1978)." Paris, EPHE, 2014. http://www.theses.fr/2014EPHE4005.

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La Caisse nationale des monuments historiques, rebaptisée Centre des monuments nationaux au seuil du XXIe siècle, fut créée en 1914 dans le climat de crise qui, pour le service des Monuments historiques, a suivi la séparation des églises et de l’État. Elle devait apporter compléments de ressources et souplesse budgétaire grâce à la formule en vogue de l���établissement public, et a connu de multiples transformations au fil des décennies. Imaginée à l’origine pour recevoir dons, legs, et ressources fiscales, la Caisse a finalement été alimentée par les droits d’entrée instaurés dans les monuments historiques après la guerre, et à partir de la fin des années 1920, par le développement d’une activité commerciale. Banquière discrète de la direction des Beaux-Arts durant l’Entre-deux-guerres, la Caisse s’empare peu à peu des enjeux du développement touristique des monuments historiques, timidement dans les années 1930, et plus nettement à partir de Vichy puis des années 1950. Après la création du ministère des Affaires culturelles, une réforme importante fait de l’établissement public en 1965 un organisme d’exploitation des monuments historiques aux attributions élargies, cherchant à rendre la vie au patrimoine. La machine administrative se met en place progressivement, les rapports à la tutelle parfois tendus illustrent les enjeux nouveaux de l’action de la Caisse. L’étude de cette administration culturelle au long du XXe siècle porte sur les hommes, les procédures, les moyens, les résultats, dans une perspective d’histoire du patrimoine
The “Caisse nationale des monuments historiques”, renamed “Centre des monuments nationaux” at the beginning of the XXIth century, was created in 1914, in a period of crisis for the Department of Historic Buildings in France, after the separation of churches and state. It was created as a public body like many others institutions during the same period in order to provide more money with flexibility; and it was transformed many times during the following decades. First, the institution was supposed to receive donations, legacies, and money from taxes, but finally it mainly received entrance fees that began to be collected after the War in historic buildings, and since the end of the 1920s, incomes from commercial activities. It discreetly provided money for the Department of Arts between the wars, but since the 1930s, World War II, and the 1950s, the institution has become more important because of the development of cultural tourism. After the creation of the Ministry of Culture, an important reform occurred in 1965, and the institution became in charge of the exploitation and presentation of historic buildings, in order to give them a second life. The administration grew progressively, new challenges appeared, and the relationships between the institution and the Ministry became sometimes difficult. This study deals about people, procedures, means, and results, in order to build the story of a cultural administration
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Lefort, Nicolas. "Patrimoine régional, administration nationale : la conservation des monuments historiques en Alsace de 1914 à 1964." Phd thesis, Université de Strasbourg, 2013. http://tel.archives-ouvertes.fr/tel-01037903.

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De 1914 à 1964, la conservation des monuments historiques d'Alsace est progressivement soumise à la législation et à la pratique administrative françaises. Cependant, les institutions introduites dans le Reichsland d'Alsace-Lorraine avant 1914 sont maintenues en vigueur après 1918 et certaines d'entre-elles sont même étendues aux départements " de l'Intérieur ". Après la centralisation des services d'Alsace et Lorraine en 1925, les monuments historique d'Alsace sont soumis à la même pénurie budgétaire que ceux des autres départements français. Le maintien en Alsace du régime des cultes concordataires permet toutefois aux édifices cultuels protégés au titre des monuments historiques de bénéficier de l'apport du budget des Cultes. En outre, les départements du Bas-Rhin et du Haut-Rhin prennent le relai de l'ancien Land d'Alsace-Lorraine pour subvenir à l'entretien des monuments historiques. La conservation des monuments historiques d'Alsace constitue un véritable enjeu national : le nombre d'édifices protégés ne cesse d'augmenter, les souvenirs et vestiges des deux guerres mondiales et les monuments d'architecture française sont particulièrement mis en valeur, alors que les monuments qui avaient été restaurés par des architectes allemands avant 1914 sont souvent " dérestaurés ". Le champ des protections s'élargit progressivement aux sites pittoresques, aux abords des monuments et aux centres anciens. Enfin, la connaissance du patrimoine alsacien progresse grâce à la réalisation de nouveaux inventaires.
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Bauer, Letícia Brandt. "O homem e o monumento : criações e recriações de Rodrigo Melo Franco de Andrade." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/134298.

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A tese estuda os processos de construção e reconstrução de Rodrigo Melo Franco de Andrade como homem-monumento ao longo do tempo. O personagem foi o primeiro diretor do Instituto do Patrimônio Histórico e Artístico Nacional (IPHAN), instituição federal criada em 1936 para selecionar e proteger o patrimônio cultural brasileiro. Rodrigo permaneceu no cargo durante 30 anos e sua gestão tornou-se conhecida como a “fase heroica” da instituição. O trabalho divide-se em quatro capítulos e busca analisar as diferentes formações discursivas relacionadas ao diretor, investigando, primeiramente, sua escolha para a direção da instituição, sua progressiva identificação com a mesma e a formação de uma rede de colaboradores e funcionários. Em seguida, examina diferentes homenagens prestadas a Rodrigo e ao IPHAN nas comemorações de 20, 25 e 30 anos de existência da instituição, além da concessão de quatro títulos Honoris Causa e Suplementos Literários dedicados a celebrar os 70 anos do primeiro diretor do órgão federal. No terceiro capítulo, partindo de 1969, ano de seu falecimento, a tese problematiza uma série de publicações a ele dedicadas, em especial “A lição de Rodrigo”, de 1969, e os livros “Rodrigo e seus tempos” e “Rodrigo e o SPHAN”, de 1986 e 1987, respectivamente. As três obras são compreendidas como documentos-monumentos que fundamentaram a imagem do personagem a partir de uma perspectiva institucional. Finalmente, são investigados os usos das imagens de Rodrigo Melo Franco de Andrade em dissertações e teses relacionadas ao campo do patrimônio cultural brasileiro entre 1989 e 2012.
The thesis studies the processes of construction and reconstruction of Rodrigo Melo Franco de Andrade as monument-man throughout time. The character was the first director of the Instituto do Patrimônio Histórico e Artístico Nacional/National Institute of Historic and Artistic Heritage (IPHAN), federal institution created in 1936 to select and protect the Brazilian cultural heritage. Rodrigo remained director during 30 years and his management has been known as the institution’s “heroic phase”. The study is divided in four chapters and aims to analyze the different discursive formations related to the director, investigating, firstly, his choice for the institution direction, his progressive identification with it and the formation of a network of collaborators and staff. Then the thesis examines different tributes paid to Rodrigo and IPHAN during the celebrations of the institution's 20th, 25th and 30th anniversary, and the awarding of four titles of Honorary Degree and Literary Supplements dedicated to celebrating the 70th anniversary of the first director of the federal agency.Following, starting from 1969, year of his death, the thesis problematizes a series of publications dedicated to the first director, specially “A lição de Rodrigo”, de 1969, and the books “Rodrigo e seus tempos” e “Rodrigo e o SPHAN”, de 1986 e 1987, respectively. The three publications are understood as documents-monuments that fundament the director’s images from an institutional perspective. Finally, the thesis investigates the uses of Rodrigo Melo Franco de Andrade’s images in dissertations and theses related to the field of Brazilian cultural heritage between 1989 and 2012.
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Tissot, Dupont Jérôme. "Le comité ecclésiastique de l'Assemblée nationale Constituante 1789-1791." Paris, EHESS, 2006. http://www.theses.fr/2006EHES0037.

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Le Comité ecclésiastique est créé le 12 août 1789, les premiers membres sont nommés le 20 août ; ils sont quinze dont la majorité sont des avocats. Le 7 février 1790, quinze nouveaux membres sont élus dont la moitié sont des ecclésiastiques réformateurs. Mis en minorité, les opposants démissionnent en mai 1790. Les compétences du Comité sont tellement vastes qu'il délègue au Comité des dîmes et aux comités réunis. Ce dernier crée le Comité des savants ou commision des monuments. Les travaux abordés par le comité concernent l'aliénation, l'administration et la vente des biens ecclésiastiques, mais aussi leur conservation, la suppression des ordres religieux, la constitution civile du clergé, l'état civil et le mariage, enfin le culte et la liturgie
The "Comité ecclésiastique" was founded on the 12th of August 1789. The initial members were nominated on the 20th of August. They are fifteen and the majority of them is made of barristers. On the 7th of February 1790, fifteen new members are elected and half of them are reforming ecclesiastics. Defeated, the opponents resign in May 1790. The committee skills are so wide that is delegates to the "Comité des Dîmes" and to united Committees. The latter creates the "Comité des savants" or "Commission des monuments". The work by the committee concerns alienation, administration and sale of the ecclesiastical property, but also its preserving, the abolition of the religious orders, the civil constitution of clergy, the civil status and the marriage and finally the religion and the liturgy
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10

Fellmann, Benjamin. "Palais de Tokyo – Monument der moderne kunstpolitik und ästhetik im 20. und 21. Jahrhundert." Thesis, Paris 8, 2016. http://www.theses.fr/2016PA080134.

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Projeté pour des musées nationaux et municipaux d’art moderne à l’occasion de l’exposition universelle de 1937, le Palais de Tokyo à Paris est aujourd’hui un centre d’art contemporain international, connu aussi en lien à l’esthétique relationnelle proposée par son cofondateur (avec Jérôme Sans) Nicolas Bourriaud. Une étude de sa genèse jusqu'au site contemporain manquait jusqu’alors. En se fondant sur des expositions centrales et des vastes matériaux d’archives de la politique et administration des Beaux-Arts, cette étude traite dans un premier temps des pensées et institutions l’occupant dès sa conception : MNAM (1937-1977), conception du Centre Pom-pidou, Musée d’Art et d’Essai (1977-1986), Institut des Hautes Études en Arts Plastiques (IHE-AP, 1988-1990) préfiguration d’Orsay, Maison de la Photographie (1984-1993), projet du Palais des Images/Palais du Cinéma (1984-1998, avec Cinémathèque, FÉMIS, BIFI), puis Site de créa-tion contemporaine (2002-). Dans un deuxième temps nous présentons son rôle en tant que mo-nument de la pensée du rôle de l’art dans la société: Dès sa genèse dans le contexte d’un échan-ge international sur les musées modernes des années trente, jusqu’au débats contemporains d’une esthétique politique, notamment de l’art relationnel, du discours de l’art participatif, du « New Institutionalism » et l’esthétique philosophique. L'étude se propose aussi d'apporter une compréhension générale de la genèse de l’esthétique relationnelle et ses critiques principales. Le Palais de Tokyo est conçu comme monument, espace d’une mémoire sociale de l’art selon Aby Warburg et un cadre théorique s’appuyant sur Walter Benjamin, qui informe de son rôle décisif dans le développement de critères formels de la théorie sociale de l’art au 20ème et 21ème siècle
Projected for national and municipal museums of modern art on the occasion of the 1937 world fair, the Palais de Tokyo in Paris today is an international centre of contemporary art, known, too, by virtue of relational aesthetics brought forward by its co-founder (with Jérôme Sans) Nicolas Bourriaud. A monographic study of its genesis up to the contemporary site was yet mis-sing. This study examines the thought and projects that occupied it, based on central exhibitions and vast materials from the archives of cultural politics and arts administration: National Muse-um of Modern Art (1937-1977), the conception of the Centre Pompidou, Musée d’Art et d’Essai (1977-1986), Institut des Hautes Études en Arts Plastiques (IHEAP, 1988-1990), préfiguration d’Orsay, Maison de la Photographie (1984-1993), a project for Palais des Images/Palais du Ci-néma (1984-1998, with Cinémathèque, FÉMIS, BIFI), Site de création contemporaine (2002-). The study also focuses on its role as monument of the thinking of art’s function in society, from the context of an international exchange on modern museums in the thirties, up to contemporary debates of political aesthetics, particularly of relational art, the discourse of participatory art, ‘New Institutionalism’ and philosophical aesthetics. The study also provides a global view on the genesis of relational aesthetics and its principal critiques. Thus, the Palais de Tokyo is consi-dered as monument, a space of social memory of art following Aby Warburg and a theoretical frame based on Walter Benjamin, informing on its crucial role in the development of formal criteria of theories of art’s social role in the 20th and 21st centuries
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Books on the topic "National monuments – France"

1

Dequier, Angéle. Un musée révolutionnaire: Le musée des monuments français d'Alexandre Lenoir. Paris: Louvre éditions, 2016.

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Léon, Pressouyre, and Cité de l'architecture et du patrimoine (Paris, France), eds. Le musée des monuments français: Cité de l'architecture et du patrimoine. Paris: N. Chaudun ; Cité de l'architecture et du patrimoine, 2007.

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Musée national des monuments français (Paris, France) and Musée des beaux-arts de Marseille., eds. Photographier l'architecture, 1851-1920: Collection du Musée des monuments français : Musée national des monuments français, 18 mars-20 juin 1994 [et] Musée des beaux-arts de Marseille, Palais Longchamp, 1er juillet-1er septembre 1994. Paris: Editions de la Réunion des musées nationaux, 1994.

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La basilique Sainte-Jeanne-d'Arc de Domrémy-la-Pucelle: Monument national de la reconnaissance française à Jeanne-d'Arc. Langres: D. Guéniot, 2001.

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Musée national des monuments français (Paris, France) and Cité de l'architecture et du patrimoine (Paris, France), eds. Le Musée des monuments français et ses amis de 1980 à 2006: Mémoire et questions : vers quelle Cité à Chaillot? Paris: Cité de l'architecture et du patrimoine, 2007.

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Normandy American Cemetery and Memorial. Arlington, Va: American Battle Monuments Commission, 2014.

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Carrier, Peter. Holocaust monuments and national memory cultures in France and Germany since 1989: The origins and political function of the Vél' d'Hiv' in Paris and the Holocaust Monument in Berlin. Oxford, UK: Berghahn Books, 2006.

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Holocaust monuments and national memory cultures in France and Germany since 1989: The origins and political function of the Vél' d'Hiv' in Paris and the Holocaust Monument in Berlin. New York: Berghahn Books, 2005.

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Le Cimetière américain de Colleville-sur-Mer: Une commission américaine en Normandie. Bayeux: OREP éditions, 2012.

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Die Musees du Trocadero: Viollet-le-Duc und der Kanondiskurs im Paris des 19. Jahrhunderts. Berlin: Reimer, 2012.

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Book chapters on the topic "National monuments – France"

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Harrison, Victoria L. "War in the Past, War in the Present: How Memory, Monuments, and Misinformation Influenced Young French Girls’ Nationalist Discourses." In National Identities in France, 101–19. Routledge, 2017. http://dx.doi.org/10.4324/9781315125060-7.

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Malraux, André. "Assemblée nationale - séance du 14 décembre 1961 -." In La grande pitié des monuments de France, 65–74. Presses universitaires du Septentrion, 1998. http://dx.doi.org/10.4000/books.septentrion.50332.

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Malraux, André. "Assemblée nationale – séance du 8 décembre 1966." In La grande pitié des monuments de France, 127–37. Presses universitaires du Septentrion, 1998. http://dx.doi.org/10.4000/books.septentrion.50356.

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Malraux, André. "Assemblée nationale – séance du 6 décembre 1967 –." In La grande pitié des monuments de France, 139–51. Presses universitaires du Septentrion, 1998. http://dx.doi.org/10.4000/books.septentrion.50359.

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Malraux, André. "Assemblée nationale – 2e séance du 23 juillet 1962 –." In La grande pitié des monuments de France, 79–85. Presses universitaires du Septentrion, 1998. http://dx.doi.org/10.4000/books.septentrion.50338.

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Malraux, André. "Assemblée nationale - 1re séance du 18 janvier 1963 -." In La grande pitié des monuments de France, 89–92. Presses universitaires du Septentrion, 1998. http://dx.doi.org/10.4000/books.septentrion.50344.

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Malraux, André. "Assemblée nationale – 2e séance du 7 novembre 1964 –." In La grande pitié des monuments de France, 105–19. Presses universitaires du Septentrion, 1998. http://dx.doi.org/10.4000/books.septentrion.50350.

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Malraux, André. "Assemblée nationale – 2e séance du 27 octobre 1966 –." In La grande pitié des monuments de France, 121–25. Presses universitaires du Septentrion, 1998. http://dx.doi.org/10.4000/books.septentrion.50353.

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Malraux, André. "Assemblée nationale – 1re et 2e séances du 9 novembre 1963 –." In La grande pitié des monuments de France, 93–104. Presses universitaires du Septentrion, 1998. http://dx.doi.org/10.4000/books.septentrion.50347.

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Culver, David C., and Tanja Pipan. "Some Representative Subterranean Communities." In The Biology of Caves and Other Subterranean Habitats, 206–25. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198820765.003.0009.

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Among shallow subterranean habitats, representative communities of hypotelminorheic (Lower Potomac seeps, Washington, DC), epikarst (Postojna–Planina Cave System, Slovenia), milieu souterrain superficiel (MSS) (central Pyrenees, France), soil (central Pyrenees, France), calcrete aquifers (Pilbara, Western Australia), lava tubes (Tenerife, Spain and Lava Beds National Monument, California), fluvial aquifers (Lobau wetlands, Austria), and iron-ore caves (Brazil) are described. Among non-cave deeper habitats, communities of phreatic aquifers (Edwards Aquifer, Texas), and deep phreatic aquifers (basalt aquifers, Washington) are described. Among cave habitats, representative tropical terrestrial (Gua Salukkan Kallang, Sulawesi, Indonesia), temperate terrestrial (Mammoth Cave, Kentucky), chemoautotrophic (Peştera Movile, Romania), hygropetric (Vjetrenica, Bosnia & Herzegovina), anchialine (Šipun, Croatia), cave streams (West Virginia and U.K.) and springs (Las Hountas, Baget basin, France) communities are discussed.
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Conference papers on the topic "National monuments – France"

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Fuentes, O., and G. Pincon. "PARIETAL AND MOBILE ART OF ROC-AUX-SORCIERS ROCK SHELTER (MIDDLE MAGDALENIAN, VIENNE, FRANCE)." In Знаки и образы в искусстве каменного века. Международная конференция. Тезисы докладов [Электронный ресурс]. Crossref, 2019. http://dx.doi.org/10.25681/iaras.2019.978-5-94375-308-4.15-16.

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The rock shelter of the Roc-aux-Sorciers at Angles-sur-lAnglin (Vienne, France) is one of the archaeological reference sites for the Upper Paleolithic. The sculpted, painted and engraved frieze was gradually brought to light in its archaeological context by Susanne Cassou de Saint-Mathurin and Dorothy Garrod from 1949 onwards (Saint-Mathurin, Garrod, 1950). A wealth of archaeological material was discovered alongside the parietal art, comprising numerous works of portable art, tools made of animal bone, jewellery, etc. It was very rapidly observed that the portable art and the parietal art shared the same graphic and thematic conventions. For example, images of female bodies are rendered in high relief, in a monumental way, but also in the form of small statuettes. Our research has demonstrated the undeniable intra-site links between the portable art and the parietal art (Pinon, 2012). Here we propose to broaden this analysis within a well-identified culture of the Middle Magdalenian known as the Magdalenian of Lussac-Angles spearpoints. At the time of the discovery of the Magdalenian site of La Marche in 1937 (Vienne) (Lwoff, Pricard, 1940), some similarities had been identified between this site and that of Le Roc-aux-Sorciers, where the discoveries dated back to 1927 (Rousseau, 1933). These similarities are also perceptible in shared techniques (Chehmana, Beyries, 2010), as well as in the production of objects in hard organic materials such as the Lussac-Angles spearpoints (Pinon, 1988), the jewellery in fossil mammoth ivory (Dujardin, Pinon, 2000), the engraved horse incisors (Mazire, 2009) and the figurative art (Bourdier et al., 2016 Fuentes, 2016). We propose to further explore the links between these two sites through the analysis of the dynamic processes of reworking images. In particular we examine the engraved plaquettes of La Marche and the parietal art of Le Roc-aux-Sorciers to bring these links into perspective. This could shed light on some common ways of seeing the world in this Magdalenian group. Bourdier, C., Pinon, G., Bosselin, B. (2016). Norme et individualit au Rocaux-Sorciers (Vienne, France): approches des mains du registre animalier au travers de la forme. In M. Groenen, M.-Ch. Groenen (Eds.), Style, Techniques and Graphic expression in Rock Art (pp. 1735). BAR S2787. Chehmana, L., Beyries, S. (2010). Lindustrie lithique du Roc-aux-Sorciers (collection Rousseau). In J. Buisson-Catil, J. Primault (Eds.), Prhistoire entre Электронная библиотека ИА РАН: https://www.archaeolog.ru/ru/el-bib 16 Vienne et Charente. Hommes et socit du Palolithique (pp. 453460). Association des publications Chauvinoises, mmoire XXXVIII. Dujardin, V., Pinon, G. (2000). Le Magdalnien dans la Vienne et la Charente. In G. Pion (Dir.), Le Palolithique suprieur rcent: nouvelles donnes sur le peuplement et lenvironnement (pp. 213222). Actes de la table ronde de Chambry, 12-13 mars 1999, Mmoire de la Socit prhistorique franaise 28. Fuentes, O. (2016). The social dimension of human depiction in Magdalenian rock art (16,500 cal. BP 12.000 Cal. BP): the case of the Roc-aux-Sorciers rockshelter. Quaternary International, 430, 97113. https://doi.org/10.1016/ j.quaint.2016.06.023 Pericard, L., Lwoff, S. (1940). La Marche. Commune de Lussac-les-Chteaux (Vienne). Premier atelier de Magdalnien III dalles graves mobiles. Bulletin de la Socit Prhistorique franaise, 37(79), 155180. Pinon, G. (1988). Fiche sagaie de Lussac-Angles. In H. Camps Fabrer (Dir.), Fiches typologiques de lindustrie osseuse prhistorique. Commission de nomenclature sur lindustrie de los prhistorique. Cahier I: sagaies (fiche 3bis). Universit de Provence. Pinon, G. (2012). Art mobilier et art parital du Roc-aux-Sorciers (Angles-surlAnglin, Vienne, France): disparits ou sens communs In J. Clottes (Ed.), Lart plistocne dans le monde / Pleistocene art of the world / Arte pleistoceno en el mundo (pp. 15491558). Bulletin Socit Prhistorique Arige-Pyrnes. Mazire, G. (2009). Les incisives de chevaux graves. In G. Pinon (Dir.), Le Roc-aux-Sorciers: art et parure du Magdalnien. Runion des Muses Nationaux. http://www.catalogue-roc-aux-sorciers.fr Rousseau, L. (1933). Le Magdalnien dans la Vienne. Dcouverte et fouille dun gisement du Magdalnien, Angles-sur-lAnglin (Vienne). Bulletin de la Socit Prhistorique franaise, 30, 239256. Saint-Mathurin (de), S., Garrod, D. (1950). Une frise sculpte du Magdalnien ancien dcouverte Angles-sur-lAnglin, dans la Vienne. Acadmie des Inscriptions et Belles Lettres, 94(2), 123128.
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