Academic literature on the topic 'Paris (France) ;Garde nationale History'
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Journal articles on the topic "Paris (France) ;Garde nationale History"
Fulcher, Jane F. "Concert et propagande politique en France au Début du 20eSiècle." Annales. Histoire, Sciences Sociales 55, no. 2 (April 2000): 389–413. http://dx.doi.org/10.3406/ahess.2000.279853.
Full textNikolaev, D. D. "Train Travel as the Basis of the Plot in Bunin’s Works Part one: East and West." Studies in Theory of Literary Plot and Narratology 15, no. 2 (2020): 355–70. http://dx.doi.org/10.25205/2410-7883-2020-2-355-370.
Full textTrump, 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.
Full textLepetit, Bernard. "L'échelle de la France." Annales. Histoire, Sciences Sociales 45, no. 2 (April 1990): 433–43. http://dx.doi.org/10.3406/ahess.1990.278845.
Full textTrump, 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.
Full textCrépin, Annie. "Armée, conscription et garde nationale dans l'opinion publique et le discours politique en France septentrionale (1789-1870)." Revue du Nord 350, no. 2 (2003): 313. http://dx.doi.org/10.3917/rdn.350.0313.
Full textGosson, Renée K. "‘Tous ceux sans qui la France ne serait pas la France’: The case for a French national museum of colonial histories." French Cultural Studies 29, no. 2 (May 2018): 120–37. http://dx.doi.org/10.1177/0957155818755608.
Full textBouchet, Thomas. "Mathilde Larrère, L’urne et le fusil. La garde nationale de Paris de 1830 à 1848, Paris, PUF, 2016, 329 p., ISBN 978-2-13-062168-3." Revue d’histoire moderne et contemporaine 64-2, no. 2 (2017): 234. http://dx.doi.org/10.3917/rhmc.642.0234.
Full textMelot, 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.
Full textNeuman, 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.
Full textDissertations / Theses on the topic "Paris (France) ;Garde nationale History"
Cardoni, Fabien. "La garde républicaine, d'une République à l'autre 1848-1971 : un régiment de gendarmes à Paris." Paris 4, 2005. http://www.theses.fr/2005PA040250.
Full textThis work presents at first the conditions of the demobilization of the municipal guard just after February 1848 and of the beginning of the Republican Guard during the early weeks of the Republic. It follows this last guard between the barricades of June 1848, then details the purges than affect it, from 1849 to 1850, and, at last, its attitude at the time of the 1851 coup. During its first years, the Republican Guard, composed at the start of citizens-soldiers, moves slightly into a praetorian guard, which the republicanism appears secondary nay undesirable. Next, Second Empire offers the means to examine its daily missions, the place of this atypical unity within gendarmerie and army, its links with municipality and its tutelary authorities, and then the guards, these soldiers not like the others. If this regiment of gendarmes, at the service of Parisians, is still financed by the city, is also a government weapon in Paris. In first line or laid by reserve in case of riots, the guard is a major actor of the public order. Parallel to the increase of the uniformed policed starting in 1854, the guard takes part of the elaboration of a new kind of street control. The long-term study of the guard role in Paris and specially of its action during the troubles of the two last years of the Empire, helps to understand the emergence of keeping, in the modern sense of the term. From September 4th 1870, the guard becomes spectator of Paris history and it fades into the mass of the capital defenders. Its return to the front scene, the 18th of March 1871, is a fiasco which turns into a drama and which opens a new chapter of its history
Chevignard, Denis. "Les corps auxiliaires recrutés dans l'arrondissement de Beaune en 1870." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL086.
Full textThe National guard was established in 1791 as a direct descendent of the former militias in the Kingdom of France. The National guard was first tasked with policing, and, during the regimes that followed, experienced various ups and downs before disbanding in 1852. In 1868, however, Napoléon III created the garde nationale mobile to address the impending threat from the Prussian victory in Sadowa in 1866. In 1868, the garde nationale mobile supplemented the regular Army, which had suffered defeat in Sedan and had been pinned down in Metz. Alongside the mobilized garde nationale and the franc-tireurs, the garde nationale mobile continued fighting the invasion forces in the years 1870-1871. The arrondissement of Beaune had to form four battalions and a half through levée en masse. These were mainly tasked with the defense of Paris and the repression of the Kabyle revolt. Just like the corps auxiliaires recruited in the other départements, these conscripted troops were thoroughly unprepared, although they did raise hopes and fought bravely. Despite failing to restore the status quo in France, they did ensure that destabilization was not exacerbated in Algeria. After the 1870 war, the veterans of these forces were at the heart of the society and contributed to forge the spirit of revenge
Huchet, de Quénétain Christophe. "Nicolas Besnier (1686-1754) : architecte, orfèvre du roi, directeur de la Manufacture royale de tapisseries de Beauvais, et échevin de la Ville de Paris." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040025.
Full textNicolas Besnier (1686-1754) is the son of François Besnier, head of the Gobelet du Roi and Henriette Delaunay. His uncle is Nicolas Delaunay and his godfather is Corneille Van Clève. As an architect, Nicolas Besnier traveled to Italy from 1709 to 1712. As student at the Academy of France in Rome, he obtained the first prize of architecture of the Académie de Saint-Luc in 1711. He became master goldsmith in 1714, partner with Delaunay, and was housed in the Galeries du Louvre from 1718. He was appointed goldsmith of the king by a patent in 1723. He worked for the court of France, notably for the replacement of the king's ordinary serveware and for the Foreign Affairs, as well as for the Counts of Tarroca, of Pontchartrain, the Duchess of Retz, of Harcourt, the Marshal de Castries, the Dukes of Bouillon, of Levy, Horatio Walpole, Gaspard-Caesar-Charles de Lescalopier,William Bateman... He became the alderman of the city of Paris in 1729. At that time, he decided to collaborate with his son in law Jacques Roëttiers de La Tour, who led the his workshop of goldsmith. From 1734, and until 1753, he was director of the Royal Manufacture of Tapestry of Beauvais. He supervised the creation of newhangings by Jean-Baptiste Oudry - Metamorphosis of Ovide, Fine verdures, by Charles Joseph Natoire - History of Don Quixote and by François Boucher - Italian festivals, Story of Psiché, the second Chinese hangings, the Loves of the gods, the Noble pastoral, Fragments of opera. This period is truly the « golden age » ofmanufacturing. He left his lodging at the galleries of the Louvre in 1739 and in 1744 gave back his hallmark of goldsmith
Larrère, Mathilde. "La garde nationale de Paris sous la Monarchie de juillet : le pouvoir au bout du fusil ?" Paris 1, 2000. http://www.theses.fr/2000PA010662.
Full textHincker, Louis. "Être insurgé et être citoyen : à Paris durant la Seconde République." Paris 1, 2003. http://www.theses.fr/2003PA010599.
Full textSequera, Héctor J. "Selected Lute Music from Paris, Rés. Vmd. Ms. 27 from the Bibliothèque Nationale: Reconstruction, Edition, and Commentary." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4652/.
Full textMonnier, Franck. "L'Opéra de Paris de Louis XIV au début du XXe siècle : régime juridique et financier." Thesis, Paris 2, 2012. http://www.theses.fr/2012PA020072/document.
Full textSince the eighteenth century, the Paris Opera has been considered to be a “public service corporation”. Many missions were assigned to the theatre: the Opera should traditionally offer the viewer lyrical opuses in a national genre, but it’s role was also to represent the authorities, serve foreign affairs and support a section of the craft industry. The functioning of the "public service of the Opera” raises questions of public order and management. A legal framework was implemented. The police for the theatres was reformed and adapted to the peculiarities of the activity: censorship, police surveillance and fire fighting arrangements were organized by specific measures. The administration of the Opera underwent several upheavals. The authorities hesitated between an ambiguous system of delegation to subsidized contractors and direct state control (or local government control). These institutional reforms had an impact on the legal status of the artists, on the development of their careers and on the organization of their pension fund. All the information necessary for the development of this work is not to be found in the legal regulations. Our method was to cross the legal sources with administrative records and balance sheets, in order to compare the actual running of the theatre with it’s "ideal" functioning, planned in offices, far from the material difficulties of the actual execution. This study reveals the normative force of customary uses in administration, as well as the phenomenon of diversion of the rules by the administrators and the staff. This mode of functioning, often unknown to the bureaucracy, remains the only element of stability in the Opera, since the reign of Louis XIV until the Third Republic
Cinquini, Philippe. "Les artistes chinois en France et l’Ecole nationale supérieure des beaux-arts de Paris à l’époque de la Première République de Chine (1911-1949) : pratiques et enjeux de la formation artistique académique." Thesis, Lille 3, 2017. http://www.theses.fr/2017LIL30003/document.
Full textThe presence of Chinese artists in France during the first half of the Twentieth Century was an exceptional and enduring phenomenon at the National School of Fine Arts of Paris (École nationale des Beaux-Arts de Paris). Based on the analysis of the documents from the French National Archives, the number of Chinese students was so substantial that it deserves to be called as the 'Chinese phenomenon at the École des Beaux-Arts'. Between 1914 and 1955, more than 130 Chinese students enrolled at the 'Galeries' (preparatory training in drawing) and at the painting and sculpture studios called 'Ateliers'. This situation at the École des Beaux-Arts essentially reflected the movement of Chinese artists in France and more widely in the West. It played an important role in the changing field of the modern Chinese art, socially, technically and artistically ,through a process of "Cultural Transfer" and was made possible by the privileged relationship between France and China at the beginning of the Twentieth Century (the "Dialogue between two Republics"). Nevertheless, the École des Beaux-Arts also became an area of competition between the various modern Chinese artistic tendencies, as many leaders of different groups studied at the workshops of the École des Beaux-Arts. Amongthem, Xu Beihong (1895-1953), who developed a coherent social and artistic strategies, was especially significant. Xu received fundamental academic artistic training at the École des Beaux-Arts in Paris. Xu’s experience, enriched by his mastery of academic drawing, artistic anatomy and history painting, made his artistic production unprecedented in many respects of Chinese art, in oil and in ink. In addition, after a consensual period from the 1910s to the 1920s, it seems that from the 1930s, the Chinese phenomenon at the École des Beaux-Arts in Paris mainly fostered Xu’s central position in educational and artistic camps inFrance and China. This Chinese phenomenon at the École des Beaux-Arts in Paris, which is attached to academic training and to French academic art, was a dynamic element in the elaboration of artistic modernityin Twentieth Century China
Bodenstein, Felicity. "L’histoire du Cabinet des médailles et antiques de la Bibliothèque nationale (1819-1924) : un Cabinet pour l’érudition à l’âge des musées." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040071.
Full textThe Cabinet des médailles et antiques in the French National Library holds a particular place in the vast constellation of Parisian museums. Home to the so-called « bijoux savants » that founded western collecting culture since the Renaissance, it is at once a universal coin cabinet, one of the worlds foremost collections of cut stones and gems, but also a miscellaneous collection of antiquities representing all periods and places. As described in 1930 by one of its curators, it represents a « parangon of amateur cabinets from another time ». This thesis does not directly deal with its prestigious origins but tells one chapter of its long history, looking at how, from the period of the Restoration onwards (beginning with the direction of Désiré Raoul-Rochette in 1819) until the passing of Ernest Babelon in 1924, this cabinet of antiquarian culture and collections adapted and developed to the modern Republican museum age. The life of the department is first considered as a means of understanding the role of material culture and the place of the museum inside France’s national library in the nineteenth century. It then goes on to consider the development of the collections themselves and their scientific and museological exploitation in light of the rapidly expanding practice of archaeology and highly specialised auxiliary sciences of history
Rollet, Jacques-Hubert. "Henri Rollet : historien de l’Action catholique et chrétien engagé." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040047.
Full textWhile studying history at the Sorbonne, Henri Rollet (1917-2003) discovered the Church’s social teaching through Emmanuel Chaptal, an auxiliary bishop of Paris. Though he was an industry manager, he nevertheless submitted a doctoral thesis in 1948 on how Catholics had engaged with French society between 1871 and 1901. The following year, he was appointed President of the Secrétariat Social de Paris. Later he would become national President and then international President of Catholic Action for men, a lay auditor at Vatican II, and then president of the Institut Catholique de Paris. During this period he wrote several works on the role of socially engaged Catholics, mostly of a historical kind, as well as many articles; and he gave numerous conferences. It is essentially though press reports and commentaries on his books, articles and talks that one can discover who this committed lay person was: his attitudes, his opinions, the stands he took. How did this committed lay person conceive and carry out his mission in the second half of the 20th century? How did he bear witness to his faith, not only in France but also in other countries? How did he struggle to give the lay person a more significant role within the Church? As will be seen, a number of topics worked through fifty years ago are still all too relevant. Drawing on newly discovered documents, this study attempts to answer these questions, while bringing out the full importance and relevance of Catholic Social Teaching
Books on the topic "Paris (France) ;Garde nationale History"
Armies of the poor: Determinants of working-class participation in the Parisian insurrection of June 1848. Princeton, N.J: Princeton University Press, 1985.
Find full textCarrot, Georges. La Garde nationale, 1789-1871: Une force publique ambiguë. Paris: L'Harmattan, 2001.
Find full textCazals, Claude. La Garde sous Vichy. Paris: Musse, 1997.
Find full textAnne, Baldassari, Musée Picasso (Paris France), and Art Gallery of Ontario, eds. Picasso: Masterpieces from the Musée National Picasso, Paris. Paris: Musée National Picasso, 2012.
Find full textNegrophilia: Avant-garde Paris and black culture in the 1920s. London: Thames & Hudson, 2000.
Find full textSerge, Bianchi, and Dupuy Roger, eds. La Garde nationale entre nation et peuple en armes: Mythes et réalités, 1789-1871 : actes du colloque de l'Université Rennes 2, 24-25 mars 2005. Rennes: PUR (Presses Universitaires de Rennes), 2006.
Find full textSylvie, Mariage, ed. L' Assemblée nationale. [Paris]: Gallimard, 1994.
Find full textGalera, Yann. La garde républicaine mobile à l'épreuve du 6 février 1934. Maisons-Alfort (France): Service historique de la Gendarmerie nationale, 2003.
Find full textCarrot, Georges. Révolution et maintien de l'ordre (1789-1799). Paris: S.P.M., 1995.
Find full textParis, France Bibliothèque Nationale. Paris, Bibliotheque Nationale Fonds latin 7211: Analysis, inventory and text. Ottawa: Institute of Mediaeval Music, 1991.
Find full textBook chapters on the topic "Paris (France) ;Garde nationale History"
Boynton, Susan. "Music and the Cluniac Vision of History in Paris, Bibliothéque nationale de France, MS lat. 17716." In Chant, Liturgy, and the Inheritance of Rome, 407–30. Boydell and Brewer Limited, 2017. http://dx.doi.org/10.1017/9781787441460.016.
Full textVictoroff, Tatiana V. "Trans-mitting/ferring Bounine. “The Mad Artist” Translated by Maurice Parijanine." In I.A. Bunin and his time: Context of Life — History of Work, 769–843. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/ab-978-5-9208-0675-8-769-843.
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