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Journal articles on the topic 'Paris (France) ;Garde nationale History'

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Author: Grafiati

Published: 10 December 2022

Last updated: 28 January 2023

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1

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.

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Peu avant sa mort, survenue en 1910, Louis Bourgault-Ducoudray, professeur d'histoire de la musique au Conservatoire de Paris, reçut un jour la visite d'un invité peu commun. Celui-ci, raconte Bourgault-Ducoudray dans une lettre non datée, était membre de l'Action française, mouvement monarchiste pour lequel le professeur, quoique officiant dans une institution républicaine, éprouvait une sympathie voilée. Le but de cet émissaire singulier ? Consulter le musicien sur un projet de soirée associant littérature et musique, et ce au bénéfice de la ligue nationaliste Si le professeur multiplia d'abord les mises en garde, soulignant les risques de l'entreprise dans une saison déjà largement surchargée et où les nombreuses manifestations se faisaient concurrence, il en vint peu à peu à livrer le fond de sa pensée sur le projet et le principe même du concert mis au service de l'idéologie nationaliste:Selon moi, l'Action francaise, comme la Patrie francaise, devrait chercher dans Fart et particulièrement dans l'art musical moins un moyen de recette qu'un moyen de propagande par le sentiment. Puisque l'idée de patrie est battue […] il importe de formuler avec toute la puissance qu'il comporte les augures du sentiment national. Je lisais dans le Gaulois, cette définition du nationalisme : le sentiment profond, les traditions, les rêves, les énergies de toute une race. Savez-vous l'unique moyen de formuler cela ? C'est la musique chorale […]. Organisez un culte musical de la patrie et de la tradition franchise et donnez une audition de musique patriotique au Trocadéro […]. Vous affirmerez avec une puissance de rayonnement incomparable l'idée que nous servons.

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2

Nikolaev, 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.

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Train travel is one of the most frequently used motives in I. A. Bunins’ works. In the center of the plot of the “Zapisnaya knizhka” (“Notebook”) (“Novaya Russkaya Zhizn” (Gelsingfors), 1921, April 2), subsequently reworked into the story “Tretiy klass” (“Third Class”) is the voyage on the train on Ceylon. Train ride in France becomes the basis of the plot of the story “Notre-dame de la garde”, published in the newspaper “Vozrozhdenie” (“Renaissance”) (Paris) on October 17, 1925. These works are united not only by the same fiction method (we see another country and its inhabitants through the eyes of a Russian passenger on the train), but also by direct textual parallels in newspaper publications. In both cases, the train becomes a ‘mirror’ of the country: the first is the train of the East and the second is the train of the West. The contrast between East and West is most clearly pointed in the “Zapisnaya knizhka”, where it is associated with the ideological struggle of 1921. In the newspaper Bunin wrote about the West no less than about the East. The main characters of his work were the British. But in the story “Tretiy klass”, published in 1926 in “Illyustrirovannaya Rossiya” (“Illustrated Russia”), the actual publicistic pathos becomes unnecessary. A similar tendency towards a decrease in the concrete historical publicistic pathos we can find in the history of the text of the story “Notre-dame de la garde”. Here, the changes are also associated with the reduction of the universal-social that played an important role in the newspaper and its replacement with the simply universal. The plot allows Bunin to show France from different sides, as well as declare his attitude towards the country. The system of oppositions in the newspaper version of the story “Notre-dame de la garde” is more complicated than in the one in the collected works – later Bunin renounces the class characteristic. The poster-ideal West turns out to be a deception, but the destruction of external, advertising harmony does not mean the absence of beauty and internal harmony. The types created by Bunin in the story have both a national and universal character.

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3

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

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

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4

Lepetit, 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.

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Le 7 septembre 1789, Sieyès proposait à l'Assemblée nationale de nommer un comité pour préparer « un plan de municipalités et de provinces tel qu'on puisse espérer de ne pas voir le royaume se déchirer en une multitude de petits États sous forme républicaine; et qu'au contraire la France puisse former un seul tout, soumis uniformément, dans toutes ses parties, à une législation ou une administration commune». Ce plan, élaboré en trois semaines fut présenté le 29 septembre par Thouret à l'Assemblée nationale. On en connaît la teneur. La France devait être partagée, selon le modèle proposé quelques années plus tôt par le géographe Robert de Hesseln en 81 «carrés uniformes ». Le découpage devait s'effectuer en direction des frontières terrestres et maritimes à partir de Paris, et il était prévu que la capitale devrait former un département particulier.

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5

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

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

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6

Crépin, 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.

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7

Gosson, 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.

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Although France is known as the country of museums, it has yet to inaugurate a museum of French history. At a time of mounting tensions between an increasingly multiracial and multicultural French population, on the one hand, and an inherently problematic model of French Republican integration on the other, one wonders whose history would be represented. In the wake of one of France’s worst cases of social unrest – the 2005 riots – Paris opened two new national museums (the Musée du Quai Branly and the Cité Nationale de l’Histoire de l’Immigration), which held great promise of leading France toward postcoloniality. Unfortunately, neither site advanced the nation’s largely silenced conversation about its colonial history, its enduring effects and its contemporary manifestations. Against a backdrop of increased Islamophobia, exacerbated as much by the 2015–17 terrorist attacks in Paris and Nice as by the anti-’immigration’ rhetoric during the 2017 presidential elections, I examine the call for a new museum and its potential to bring France closer to postcoloniality.

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8

Bouchet, 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.

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9

Melot, Michel. "Le projet de Bibliotheque nationale des arts a Paris." Art Libraries Journal 18, no. 4 (1993): 4–10. http://dx.doi.org/10.1017/s030747220000849x.

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When the Bibliothèque Nationale moves into the new Bibliothèque de France, leaving behind only six specialised departments, the opportunity will arise to use the buildings of the Rue de Richelieu site to bring together a group of art history libraries and research centres. Priority will be given to the remaining Departments of the Bibliothèque Nationale, which need more space than they presently occupy; they will be joined by the inter-university library of art and archaeology from the Rue Michelet, the central library of the national museums, from the Louvre, and the older collections of the Ecole Nationale Supérieure des Beaux-Arts. The architectural holdings of the latter might be identified as the foundation for a major architectural collection to satisfy the demand for such a library in Paris. The collections thus brought together will not be merged, but will be exploited by means of shared services, including a union catalogue, and will be developed by means of a common acquisitions policy This concentration of resources on one site will not in itself constitute a ‘national art library’, but will provide a central node for a wider network. (An English version follows the original French text).

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10

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

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

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11

Lignereux, Aurélien. "Roger DUPUY, La Garde nationale, 1789-1872, collection Folio Histoire, Paris, Gallimard, 2010, 606 p. ISBN : 978-2-07-034716-2. 11." Revue d'histoire du XIXe siècle, no. 43 (November 13, 2011): 159–61. http://dx.doi.org/10.4000/rh19.4176.

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12

Papalas, Marylaura. "Fashion in interwar France: The urban vision of Elsa Schiaparelli." French Cultural Studies 28, no. 2 (April 17, 2017): 159–72. http://dx.doi.org/10.1177/0957155817693512.

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Elsa Schiaparelli’s avant-garde designs and her collaborative efforts with surrealist artists are the subject of most analyses of her work, which focus on themes of glamour, gender and the construction of a modern feminine beauty. Yet a number of lesser-known creations from the 1920s and 1930s, equally experimental in nature, reveal other progressive themes in the Italian-born designer’s oeuvre. References to the city in a number of her pieces, for example, provide a commentary on the important relationship between fashion, women and their urban environments. This article examines designs like the skyscraper silhouette, plastic accessories and new synthetic fabrics, echoing contemporary building materials, alongside the changing landscape of interwar Paris. Comparing the imagined city suggested in Schiaparelli’s sartorial creations with the real metropolis where these garments were worn, this study reveals fashion’s potential to express women’s desires for an improved urban reality.

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13

Lignereux, Aurélien. "Mathilde Larrère, L’urne et le fusil. La garde nationale parisienne de 1830 à 1848, Paris, PUF, 2016, 329 p." Histoire urbaine 53, no. 3 (2018): VII. http://dx.doi.org/10.3917/rhu.053.0205.

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14

Yao YAO, Mathieu, Kouakou David BRENOUM, and Lazare Koffi ATTA. "Abidjan, Metropole Nationale Et Internationale." International Journal of Scientific Research and Management 10, no. 07 (July 20, 2022): 41–52. http://dx.doi.org/10.18535/ijsrm/v10i07.g02.

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Abidjan is a city that has known an exceptional destiny. It has known thanks to its port, an extraordinary development polarizing a vast demographic pool which goes beyond national borders. This rapid and continuous development from 1950 resulted from an influx of migrants, a large proportion of whom were foreigners. The engine of the spatial expansion of the city was above all the effort to create equipment and port and industrial spaces. Everything is done to make Abidjan a growth pole and a reflection of Ivorian urbanization. It has become in less than a century a great African metropolis, which is growing year after year. This article aims to show the features of the Abidjan metropolis. To achieve this, first-hand observation and documentary research were carried out. It emerges from this analysis that the centralization of trade and administration in this city and the shortcomings of the distribution system in the interior of the country confirm the industrialists in the idea that the Ivorian capital remains the best place for investment. This overwhelming primacy over others at all levels leads to rapid demographic and spatial growth. Today, Abidjan is a megacity due to its size, extent and population. It currently has nearly 5 million inhabitants (RGPH, 2014). With its 70,000 ha, it is five times larger than Paris, capital of France and the largest French-speaking city in West Africa (Chenal, 2009, p.114).

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15

Zancarini-Fournel, Michelle. "Annick TILLIER (coord.), Des sources pour l’histoire des femmes. Guide, Paris, Bibliothèque nationale de France, 2004, 203 p." Clio, no. 21 (April 1, 2005): 336–38. http://dx.doi.org/10.4000/clio.1501.

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16

Cărăbaş, Irina. "Representing Bodies. Victor Brauner’s Hybrids, Fragments and Mechanisms." Nordlit 11, no. 1 (May 1, 2007): 229. http://dx.doi.org/10.7557/13.1762.

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The Romanian avant-garde looked for inspiration in two principal places where artists from all-over Europe gathered, confronted and discussed their ideas of a new art. While Berlin nourished the constructivist orientation of the Romanian avantgarde, Paris stimulated its interest in surrealism. Although Berlin was by far more significant as a stimulus for the synthesis of all arts and all modern movements toward which the Romanian avant-garde strove, Paris had the advantage of anemotional attachment. The French culture had been set long ago as a model for the entire Romanian modern culture and institutions. Consequently it is not surprising that poets and artists, including Victor Brauner, chosed to live and work in Paris in order to feel closer to what was considered to be the origin.Victor Brauner is discussed both in the context of the Romanian avant-garde and in the history of the French surrealism, but one cannot detect any tension between center and periphery. One motivation can be found in the myth he creates for himself. Meanwhile it is obvious that he wanted to identify himself with the French surrealism. Once settled in France he paid great attention to the theories and to the artists André Breton promoted.I will discuss the myth of the artist as well as the threads which connect Brauner to other artistic strategies bringing forth the body problem. Almost always his paintings and drawings display the ineluctable presence of a metamorphic body within no narrative construction. This preoccupation informed every stage of his career as he dedicated it the greatest energies of his artistic inventiveness. Before going into the subject, one needs to frame Brauner in a larger picture.

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17

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

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

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18

Pinol, Jean-Luc. "Pierre Pinon et Caroline Rose, Places et parvis de France, Paris, Imprimerie nationale É ditions, 1999,160 p." Histoire urbaine 2, no. 2 (2000): 214. http://dx.doi.org/10.3917/rhu.002.0214.

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19

Maxwell, Kathleen. "Paris, Bibliotheque Nationale de France, Codex Grec 54: Modus Operandi of Scribes and Artists in a Palaiologan Gospel Book." Dumbarton Oaks Papers 54 (2000): 117. http://dx.doi.org/10.2307/1291834.

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20

Allen, James Smith. "La bibliothèque de l'honnête homme: Livres, lecture, et collections en France à l'âge classique. By Jean‐Marc Chatelain. Conférences Léopold Delisle. Paris: Bibliothèque Nationale de France, 2003. Pp. 211. €20.00." Journal of Modern History 78, no. 1 (March 2006): 208–10. http://dx.doi.org/10.1086/502737.

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21

Emms, Richard. "The scribe of the Paris Psalter." Anglo-Saxon England 28 (December 1999): 179–83. http://dx.doi.org/10.1017/s0263675100002301.

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The Paris Psalter (Bibliothèque Nationale de France, lat. 8824) has attracted much interest because of its long, thin format, its illustrations in the Utrecht Psalter tradition and its Old English prose translation of the first fifty psalms, which has been convincingly attributed to King Alfred himself. It is a bilingual psalter, with Latin (Roman version) on the left and Old English on the right. The first fifty psalms are in the prose translation connected with King Alfred, the remainder in a metrical version made by an author whose work has not been identified elsewhere. The leaves are approximately 526 × 186 mm, with a writing space of about 420 × 95 mm. It has been estimated that there were originally 200 leaves in twenty-five quires, but fourteen leaves, including those carrying all the major decoration, have been removed. There remain thirteen outline drawings integrated into the text on the first six folios. Some drawings may have functioned as ‘fillers’ where the Latin text was shorter than the Old English. Further on in the manuscript, in order to solve this problem, the scribe either left gaps or made the columns of Latin thinner than the corresponding Old English ones. The Old English introductions were set out across both columns, suggesting that the book was made for someone who read English more easily than Latin. The manuscript was written around the middle of the eleventh century, and it is clearly the work of a single skilled scribe who used a neat Anglo-Caroline minuscule for the Latin texts, and matching English vernacular minuscule with many Caroline letter forms for the Old English. Unfortunately, his hand has not been identified in any other books or charters; however, he did record in a colophon (186r; see pl.V) that he was called Wulfwinus cognomento Cada.

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22

Smilansky, Uri. "CREATING MS C: AUTHOR, WORKSHOP, COURT." Early Music History 39 (September 4, 2020): 253–304. http://dx.doi.org/10.1017/s0261127920000042.

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Machaut's set of complete works manuscripts forms a central pillar of our understanding of musical and generic developments and their courtly reception in fourteenth-century France. By applying the continuing scholarly advances made during the study of courtly practice and the professional Parisian book-trade to the earliest of these artefacts, this contribution reassesses the creation-history of the manuscript Paris, Bibliothèque nationale de France, fonds français 1586. The results tap into a number of enduring discussions within Machaut scholarship. These range from questions of patronage, to aspects of Machaut's authorial control and involvement in the production of his books, to the importance of order on the single-work level within a generic grouping, and to the practicalities of manuscript creation and intentionality. Finally, proposed adjustments to the dating of some compositions call for a review of existing notions of generic development and polyphonic composition in the early part of the century, thus resonating beyond Machaut's personal output.

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23

Mole, G. D. "Portrait(s) d'Edmond Jabes. Sous la direction de Steven Jaron. Paris, Bibliotheque nationale de France, 1999. 174 pp. 160F." French Studies 55, no. 2 (April 1, 2001): 273. http://dx.doi.org/10.1093/fs/55.2.273.

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24

Ribert, Évelyne. "Abdellali Hajjat. Les frontières de l’ « identité nationale ». L’injonction à l’assimilation en France métropolitaine et coloniale. Paris, La Découverte, 2012, 338 p." Annales. Histoire, Sciences Sociales 68, no. 1 (March 2013): 266–68. http://dx.doi.org/10.1017/s0395264900015869.

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25

Lamy, Jérôme. "Ann Blair, L’Entour du texte. La publication du livre savant à la Renaissance, Paris, Bibliothèque Nationale de France, coll. « Conférences Léopold Deslile », 2021, 103 p." Revue historique 701, no. 1 (February 25, 2022): 233–35. http://dx.doi.org/10.3917/rhis.221.0233.

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26

Canguilhem, Philippe, and Alexander Stalarow. "SINGING UPON THE BOOK ACCORDING TO VICENTE LUSITANO." Early Music History 30 (September 8, 2011): 55–103. http://dx.doi.org/10.1017/s0261127911000052.

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Towards the middle of the sixteenth century, the Portuguese composer and theorist Vicente Lusitano wrote a manuscript treatise on improvised counterpoint which constitutes the most thorough and detailed explanation that has survived on the subject. This manuscript has long been overlooked by music historians, despite being easily accessible at the Bibliothèque nationale de France (Paris). The manuscript is described and its history traced. Lusitano's rules, techniques and stylistic advice are investigated and compared with contemporary theory. The extraordinary complexity of the contrapuntal lines singers were expected to invent extempore calls for a reappraisal of the relationship between improvisation and composition, also discussed by Lusitano. Historical evidence is adduced to provide a context for this document; far from being disconnected from the real life of sixteenth-century music, Lusitano's manuscript counterpoint treatise provides a key to understanding the oral tradition of Renaissance art music.

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27

Paucker, Günther Michael. "Liturgical chant bibliography 12." Plainsong and Medieval Music 12, no. 2 (October 2003): 179–211. http://dx.doi.org/10.1017/s0961137103003097.

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Liturgical chant bibliography 12 maintains the traditional division into: (1) Editions and facsimile editions, (2) Books and reprints, (3) Congress reports, (4) Chant journals, (5) Collections of essays and dictionaries, (6) Articles in periodicals and Festschriften. Additions to previous bibliographies, consisting mainly of reviews, follow the present introduction. A significant publication in 2002 was without doubt the colour facsimile of the manuscript Paris, Bibliothèque nationale de France, fonds lat. 776 (12002), an eleventh-century gradual from the Benedictine abbey of Saint-Michel-de-Gaillac near Albi. Although no staff lines are present, the music is notated carefully in diastematic notation. The availability of a facsimile of this famous manuscript will certainly be of value for the study of semiology and the transmission history of tropes, proses and prosulae. It also contains traces of the Gallican and Mozarabic chant repertories.

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28

Luba, Iwona. "Kobro and Strzemiński: Łódź – Warsaw – Paris (1956–1957)." Ikonotheka 26 (June 26, 2017): 137–66. http://dx.doi.org/10.5604/01.3001.0010.1676.

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From December 1956 to December 1957, no fewer than four exhibitions presenting the oeuvre of Katarzyna Kobro and Władysław Strzemiński were organised: the Posthumous Exhibition of Władysław Strzemiński’s and Katarzyna Kobro’s Oeuvre, shown fi rst in Łódź (16 December 1956 – 14 January 1957) and then in Warsaw (18 January – 10 February 1957), and two exhibitions in Paris: 50 ans de peinture abstraite at Galerie Raymond Creuze (9 May – 12 June 1957) and Précurseurs de l’art abstrait en Pologne: Malewicz, Kobro, Strzemiński, Berlewi, Stażewski at Galerie Denise René (22 November 1957 – 10 January 1958). All received a strong response, both in Poland and abroad. Research focused on these exhibitions has brought some surprising results. None of them had been planned until 1956, and only after the events of October 1956 was it possible to show the works of Kobro and Strzemiński in Warsaw in 1957. The exhibition at the Łódź Division of the Central Bureau of Art Exhibitions was prepared with exceptional care and is immensely important, as it occasioned the fi rst attempt at preparing a catalogue of both Kobro’s and Strzemiński’s works, of Strzemiński’s biography and a bibliography of texts authored by Strzemiński and Kobro. In addition, it was there that Strzemiński’s treatise Teoria widzenia fi rst came to public attention; it was published only two years later. The exhibition was transferred, quite unexpectedly, to the Central Bureau of Art Exhibitions in Warsaw, which was the chief institution involved in exhibiting modern art in Poland; this gave offi cial sanction and a considerable status to the oeuvre of both avant-garde artists. The exhibition entitled Précurseurs de l’art abstrait en Pologne became, paradoxically, the fi rst-ever offi cial exhibition of Polish avant-garde art to be held abroad and organised by a state agency, i.e. the Central Bureau of Art Exhibitions, under the aegis of the ambassador of the People’s Republic of Poland in France. It was also the only exhibition in which Kazimierz Malewicz was regarded as a Pole and presented as belonging to the history of art in Poland; the mission initiated by Strzemiński in 1922 was thus completed. The institutions involved in arranging the loans of Malewicz’s works for this exhibition were the Ministry of Culture and Art, the Ministry of Foreign Affairs and its subordinate Polish embassies in Paris and Moscow. This was the fi rst time that the works of Kazimierz Malewicz were presented in the West, thanks to the efforts and under the aegis of the Polish Ministry of Foreign Affairs during the period of the post-Stalinist thaw; notably, this happened before their presentation at the Stedelijk Museum in Amsterdam (29 December 1957).

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Bruce, Scott G. "Die Geschichte vom Leben des Johannes von Gorze. Ed. and trans. by Peter Christian Jacobsen. Monumenta Germaniae Historica: Scriptores rerum Germanicarum in usum scholarum separatim editi 81. Wiesbaden: Harrassowitz Verlag, 2015, vii, 629 pp." Mediaevistik 31, no. 1 (January 1, 2018): 367–68. http://dx.doi.org/10.3726/med012018_367.

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The History of the Life of John, Abbot of the Monastery of Gorze (Hystoria de vita domni Iohannis Gorzie coenobii abbatis) is one of the most important and yet enigmatic saints’ lives from the tenth century. Written in the decades around 1000 by a monk named John of St. Arnulf, this unusual work of hagiography was by no means a best-seller. It survives in a single manuscript (Paris, Bibliothèque nationale de France, Latin 13766) and seems to be incomplete, as the text breaks off rather abruptly and includes no account of John’s abbacy or his death. Even so, it has attracted considerable interest from monastic historians. Jean Mabillon first edited the History in 1685; <?page nr="368"?>Georg Heinrich Pertz created the first modern edition for the Monumenta Germaniae Historia series in 1841; and Michel Parisse made the text even more accessible in 1999 by publishing a slightly improved Latin text and rendering it into French, the first translation of the History into any modern language.

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Subrahmanyam, Sanjay. "The Career of Colonel Polier and Late Eighteenth-Century Orientalism." Journal of the Royal Asiatic Society 10, no. 1 (April 2000): 43–60. http://dx.doi.org/10.1017/s1356186300011937.

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This essay is concerned with the career of a somewhat obscure figure in the early history of Orientalism, Colonel Antoine-Louis-Henri Polier, who is however known both to aficionados of the early European manuscript collections in the West, as well as to historians of the more obscure aspects of the Enlightenment on the Continent. The occasion for the research on which this essay is based is, in large measure, a project intended to translate the extensive Persian letter-book that Polier (together with his amanuensis, or munshī, Kishan Sahay) produced during his long stay in India; this translation, of a text entitled I jāz-i-Arsalānī (which is preserved in the Bibliothèque Nationale de France, Paris), has recently been brought to partial fruition by Muzaffar Alam and Seema Alavi, through the auspices of Oxford University Press (Delhi). In this context, it may be useful to reflect somewhat on the rather extraordinary career, and fascinating milieu, of Colonel Polier.

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Sider, Sandra. "Catherine Hofmann, Danielle Lecoq, Ève Netchine and Monique Pelletier. Le Globe et son Image. Paris: Bibliothèque Nationale de France, 1995. 75 pp. FF125." Renaissance Quarterly 50, no. 4 (1997): 1249–51. http://dx.doi.org/10.2307/3039443.

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Roxburgh, David J. "In Pursuit of Shadows: Al-Hariri’s Maqāmāt." Muqarnas Online 30, no. 1 (January 31, 2014): 171–212. http://dx.doi.org/10.1163/22118993-0301p0009.

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Focusing on the well-known 1237 Maqāmāt copied and illustrated by Yahya b. Mahmud. b. Yahya. b. Abi al-Hasan b. Kurriha al-Wasiti (Bibliothèque nationale de France, Paris, Ms. Arabe 5847), this essay reexamines the question of the interaction between al-Hariri’s text and al-Wasiti’s interpretation of it through a cycle of narrative paintings. The absence of such an approach can be explained by scholarly judgments going back to D. S. Rice’s essay of 1959—in which he argues that the images are a distraction—mostly restated in subsequent studies by Richard Ettinghausen (1962), David James (1974), and Oleg Grabar (1984). Grabar concluded that “the purpose and success of the story lie exclusively in its language, not in its narrative,” an assessment that gave license to the interpretation of al-Wasiti’s paintings as indices of contemporary culture and society. This essay considers the various effects of the paintings on the text and its meaning, and examines the interplay between truth and fiction, a tension that was at issue since the immediate reception of al-Hariri’s work.

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Laurent, Dominique. "Supporting and Enhancing Research on Cultural Heritage in France: the PATRIMA Project." Digital Presentation and Preservation of Cultural and Scientific Heritage 4 (September 30, 2014): 41–48. http://dx.doi.org/10.55630/dipp.2014.4.5.

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In this paper, we first overview the French project on heritage called PATRIMA, launched in 2011 as one of the Projets d'investissement pour l'avenir , a French funding program meant to last for the next ten years. The overall purpose of the PATRIMA project is to promote and fund research on various aspects of heritage presentation and preservation. Such research being interdisciplinary, research groups in history, physics, chemistry, biology and computer science are involved in this project. The PATRIMA consortium involves research groups from universities and from the main museums or cultural heritage institutions in Paris and surroundings. More specifically, the main members of the consortium are the two universities of Cergy-Pontoise and Versailles Saint-Quentin and the following famous museums or cultural institutions: Musée du Louvre, Château de Versailles, Bibliothèque nationale de France, Musée du Quai Branly, Musée Rodin. In the second part of the paper, we focus on two projects funded by PATRIMA named EDOP and Parcours and dealing with data integration. The goal of the EDOP project is to provide users with a data space for the integration of heterogeneous information about heritage; Linked Open Data are considered for an effective access to the corresponding data sources. On the other hand, the Parcours project aims at building an ontology on the terminology about the techniques dealing with restoration and/or conservation. Such an ontology is meant to provide a common terminology to researchers using different databases and different vocabularies.

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Kloosterman, Jaap. "Debord Guy. Un art de la guerre. Sous la dir. d'Emmanuel Guy et Laurence Le Bras. Bibliothèque nationale de France; Gallimard, Paris 2013. 223 pp. Ill. € 39.00." International Review of Social History 59, no. 01 (April 2014): 134–36. http://dx.doi.org/10.1017/s0020859014000030.

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Morel, Marie-France. "Alain Norvez, De la naissance à l'école. Santé, modes de garde et préscolarité dans la France contemporaine, Paris, INED-PUF, « Travaux et documents, cahier n° 126 », 1990, 463 p., index." Annales. Histoire, Sciences Sociales 48, no. 1 (February 1993): 60–62. http://dx.doi.org/10.1017/s0395264900080501.

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Werner, Martin. "The Liudhard medalet." Anglo-Saxon England 20 (December 1991): 27–41. http://dx.doi.org/10.1017/s0263675100001733.

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Although it is a precious and rare material testament to the introduction of Christianity to Anglo-Saxon England, the Liudhard medalet (pl. I) has received surprisingly little scholarly attention. It is scarcely known to art historians. The aim of this paper is to draw attention to the emblem on the reverse of the issue, and to offer an hypothesis on its meaning. Discovered ‘some years’ before 1844 with other gold coins – looped for suspension as if for a necklace of medalets – and jewellery in or near the churchyard of St Martin's, Canterbury, and published in 1845, the medalet recently has been convincingly assigned to a group of grave goods deposited c. 580–90. Besides the coin in question, the group included an Italian tremissis of Justin II, a Germanic tremissis of unsure origin, a Merovingian solidus struck by Leudulf at Ivegio vico and two tremisses from southern France, the first from Saint-Bertrand-de-Comminges, the second from Agen. Today these objects are in Liverpool, and Philip Grierson has persuasively argued for the inclusion of a Merovingian tremissis in the Bibliothèque Nationale, Paris, as once forming part of the deposit. Most likely all the coins of the Canterbury group were issued during the second half of the sixth century.

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Bonney, Richard. "Reviews : Ministère de l'Économie, des Finances et du Budget: Comité pour l'Histoire Économique et Financière de la France, Histoire économique et financière de la France, Vol. I: Études et documents, Paris, Imprimerie Nationale, 1989; viii+527 pp.; FF 200." European History Quarterly 21, no. 4 (October 1991): 565–66. http://dx.doi.org/10.1177/026569149102100409.

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Bonney, Richard. "Reviews : Ministère de l'Économie, des Finances et du Budget: Comité pour l'histoire économique et financière de la France, Histoire économique et financière de la France, Vol. II: Études et documents, Paris, Imprimerie Nationale, 1990; viii + 585 pp.; FF 199." European History Quarterly 23, no. 1 (January 1993): 96–97. http://dx.doi.org/10.1177/026569149302300116.

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White, Eugene N. "Modern Europe - État, finances et économie pendant la Révolution française. Comité pour l'Histoire Économique et Financière de la France. Paris: Imprimerie nationale, 1991. Pp. xxx, 621. 199F." Journal of Economic History 52, no. 4 (December 1992): 945–46. http://dx.doi.org/10.1017/s002205070001202x.

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Fossier, Robert. "La France de la fin du XVe siècle. Renouveau et apogée. Économie, pouvoirs, arts, culture et conscience nationale (Colloque de Tours, 3-6 octobre 1983), Paris, CNRS, 1985, x–352 p., illustr. hors texte." Annales. Histoire, Sciences Sociales 42, no. 3 (June 1987): 720. http://dx.doi.org/10.1017/s0395264900075727.

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TOURNÈS, LUDOVIC. "The Landscape of Sound in the Nineteenth and Twentieth Centuries." Contemporary European History 13, no. 4 (November 2004): 493–504. http://dx.doi.org/10.1017/s0960777304001912.

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Alain Corbin, Les cloches de la terre. Paysage sonore et culture sensible dans les campagnes au XIXe siècle (Paris: Flammarion, 1994), 359 pp., €8.69 (pb), ISBN 2080814532.Glenn Watkins, Proof through the Night. Music and the Great War (Berkeley, Los Angeles and London: University of California Press, 2003), 598 pp., $49.95 (hb), ISBN 0520231589.Jeffrey Jackson, Making Jazz French. Music and Modern Life in Interwar Paris (Durham, NC, and London: Duke University Press, 2003), 266 pp., $21.95 (pb), ISBN 0822331373.Bernard Gendron, Between Montmartre and the Mudd Club. Popular Music and the Avant-Garde (Chicago and London: University of Chicago Press, 2003), 388 pp., $55.00 (hb), ISBN 0226287351.David Looseley, Popular Music in Contemporary France (Oxford and New York: Berg, 2003), 254 pp., $25.00 (pb), ISBN 1859736319.Though undoubtedly thriving, the history of music is still a somewhat peripheral area of research which many historians dismiss as secondary. For many years publication in the subject remained the domain of two kinds of researchers, either musicologists – ‘insiders’ au fait with the technical vocabulary – or sociologists and practitioners of ‘cultural studies’ – ‘outsiders’ chiefly interested in the reception of musical phenomena and their role in the constitution of individual and collective identities. This division has become very blurred over the last few years, which have seen the emergence of a number of works with an interdisciplinary approach. But for most historians the history of music remains a largely unfamiliar theme which they struggle to include in any global social or cultural analysis. This struggle is apparent at two levels: first, the difficulty of developing guidelines to the historicity of musical events and, second, the difficulty of escaping the chronology of classical music, which is predicated on a succession of styles and composers. Based on these two points, this article will attempt to develop, through a transverse reading of certain recent works, some working hypotheses centring on the notion of a ‘landscape of sound’ or paysage sonore, as proposed some ten years ago by Alain Corbin, a notion which, it seems to me, may make a valuable contribution to rejuvenating the history of music.

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Le Tourneau, Dominique. "Bruno MAES, Le Roi, la Vierge et la Nation. Pèlerinages et identité nationale entre guerre de Cent Ans et Révolution, préface par Nicole Lemaître, Publisud (Collection «La France au fil des siècles»), Paris 2002, 633 pp." Anuario de Historia de la Iglesia 13 (May 2, 2018): 451–52. http://dx.doi.org/10.15581/007.13.23682.

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Bakemeier, Emily P. "Prosser Gifford and Marie-Hélène Tesnière, eds. Creating French Culture: Treasures from the Bibliothèque Nationale de France. New Haven and London: Yale University Press (in association with the Library of Congress, Washington, D.C. and the Bibliothèque Nationale de France, Paris), 1995. 248 pis + 5 maps + xl + 480 pp. $65. ISBN: 0-3000-6283-4." Renaissance Quarterly 51, no. 3 (1998): 986–87. http://dx.doi.org/10.2307/2901772.

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Roccati, G. Matteo. "Le Roman de Tristan en prose (version du ms. fr. 757 de la Bibliothèque nationale de France), tome III, De l’arrivée des amants à la Joyeuse Garde jusqu’à la fin du tournoi de Louveserp, édité par Jean-Paul Po." Studi Francesi, no. 143 (XLVIII | II) (December 1, 2004): 332. http://dx.doi.org/10.4000/studifrancesi.38913.

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Harvey, L. P. "A History of Early al-Andalus: The Akhbar Majmulhringa. A Study of the Unique Arabic Manuscript in the Bibliotheque Nationale de France, Paris, with a translation, notes and comments * By DAVID JAMES." Journal of Islamic Studies 23, no. 3 (June 22, 2012): 389–91. http://dx.doi.org/10.1093/jis/ets059.

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PETTEGREE, ANDREW. "Bibles imprimées du XVe au XVIIIe siècle conservées à Paris. Bibliothèque nationale de France. Bibliothèque Sainte-Geneviève. Bibliothèque de la Sorbonne. Bibliothèque Mazarine. Bibliothèque de la Société de l'histoire du protestantisme français. Bibliothèque de la Société biblique. Edited by Martine Delaveau and Denise Hillard. Pp. xlvii+862 incl. 11 ills. Paris: Bibliothèque national de France, 2002. €130. 2 7177 1846 X." Journal of Ecclesiastical History 55, no. 1 (January 2004): 168. http://dx.doi.org/10.1017/s0022046903687191.

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Mougel, François-Charles. "Françoise de la Serre, Jacques Leruez et Helen Wallace (ouvrage dirigé par), Les politiques étrangères de la France et de la Grande-Bretagne depuis 1945, Paris, Presses de la Fondation Nationale des Sciences Politiques, 1990, 295 p." Annales. Histoire, Sciences Sociales 47, no. 6 (December 1992): 1234–36. http://dx.doi.org/10.1017/s0395264900079129.

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Berta Vanrullen, Isabelle, Jean-Luc Volatier, Aurélie Bertaut, Ariane Dufour, and Jean Dallongeville. "Characteristics of energy intake under-reporting in French adults." British Journal of Nutrition 111, no. 7 (December 13, 2013): 1292–302. http://dx.doi.org/10.1017/s0007114513003759.

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Energy intake under-reporting (UR) is a concern in nutritional epidemiological studies, as it may distort the relationships between dietary habits and health. Although UR is known to be associated with certain characteristics, few studies have investigated them in France. Therefore, the goal of the present study was to assess the prevalence and characteristics of UR in French adults. UR was defined according to Goldberg's classification. A sample of 1567 adults was drawn from the nationally representative French dietary survey (Individuelle Nationale des Consommations Alimentaires 2 2006–7). Food intake (7 d record), dietary habits, socio-economic status, region of residence, sedentary behaviour and weight perception variables were assessed. Multivariate logistic regression was used to investigate the associations between UR and a number of covariates. The overall prevalence of UR was 22·5 %, similar in men and women. In both sexes, UR was positively associated with overweight and protein intake and inversely associated with age. In women, UR was associated with eating lunch in the office, poor perception of diet quality and sedentary behaviour and was inversely associated with educational level, residence in the Paris region, cereal product intake and eating lunch in a friend's or family member's home. In men, UR was positively associated with a history of slimming and inversely associated with dairy product intake and eating lunch at a staff canteen. In conclusion, UR is prevalent in French adults and is associated with several different characteristics. It is important to take account of UR when investigating diet–disease associations in adults.

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HAMILTON, SARAH. "The sacramentary of Ratoldus. (Paris, Bibliothèque nationale de France, lat. 12052). Edited by Nicholas Orchard. (Henry Bradshaw Society, 116.) Pp. ccvi+601 incl. 4 plates. London: Boydell Press (for the Henry Bradshaw Society), 2005. £35. 1 870252 22 5; 0144 0241." Journal of Ecclesiastical History 57, no. 3 (June 21, 2006): 568–70. http://dx.doi.org/10.1017/s0022046906458139.

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Constable, Giles. "Les plus anciens documents originaux de l'abbaye de Cluny, 1: Documents nos. 1 à 30: Paris, Bibliothèque nationale de France, Collection de Bourgogne, vol. 76, nos. 2 à 5 et 7 à 32. Hartmut Atsma , Jean Vezin , Sébastien BarretLes plus anciens documents originaux de l'abbaye de Cluny, 2: Documents nos. 31 à 60: Paris, Bibliothèque nationale de France, Collection de Bourgogne, vol. 77, nos. 33 à 61. Hartmut Atsma , Sébastien Barret , Jean Vezin." Speculum 77, no. 1 (January 2002): 130–32. http://dx.doi.org/10.2307/2903794.

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