Academic literature on the topic 'Paris (France) History 1830-1848'
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Journal articles on the topic "Paris (France) History 1830-1848"
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Welch, Cheryl B. "Tocqueville and the French." Tocqueville Review 15, no. 1 (January 1994): 159–65. http://dx.doi.org/10.3138/ttr.15.1.159.
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For contemporary political theorists, the events of nineteenth-century France – the "bourgeois" revolution of 1830, the revolutionary eruption of 1848 with its dénouement in Bonapartism, and the "heroic" moment of the Paris Commune – have entered the domain of reflection on modern politics through Marx. Not only for Marxists, but for those who learned political theory in a Marxist tradition or whose primary acquaintance with nineteenth-century France came from Marx's trenchant dissection of its class struggles, this was a story fraught with universal significance. Indeed, French historical events have long functioned as dramatic signs or markers of the modern relationship between state and civil society, and between democracy and revolution.
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Petler, D. N. "Ireland and France in 1848." Irish Historical Studies 24, no. 96 (November 1985): 493–505. http://dx.doi.org/10.1017/s0021121400034489.
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It has long been recognised that the French revolution of 1848 had a profound effect on the rest of Europe. The overthrow of the Orleans monarchy and the establishment of the second republic were seen as heralding the dawn of a new age. Established governments, most of which had recognised that the Continent was approaching a period of crisis, anxiously expected the spread of the revolutionary contagion and the outbreak of a major European war, whilst the discontented elements found encouragement and inspiration from the events in Paris. In Great Britain the reaction to the events across the English Channel reflected this trend. This is the beginning', noted one member of the cabinet, recalling 1792; who will live to see the end?' The Chartists were jubilant, declaring that the time was now ripe to achieve their demands.
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Traugott, Mark. "Capital Cities and Revolution." Social Science History 19, no. 1 (1995): 147–68. http://dx.doi.org/10.1017/s0145553200017259.
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The premise here is that there existed a specific moment in the history of France —and, one might speculate, of other European societies—when a popular insurrection in the capital was capable of bringing down the national government, virtually overnight and irrespective of public sentiment in the provinces. In the face of such sudden outbursts, not even those regimes that appeared most firmly entrenched proved to be secure. The most striking instances, and the ones that will be the exclusive focus of attention here, occurred in Paris during the early years of the French Revolution of 1789 as in 1830 and 1848, when the urban crowd was able, if only for a time, to impose new institutions and policies upon the nation. In general, the rural population proved acquiescent, but the will of the capital initially held sway even when the numerical majority living in the countryside seemed resistant to the change.
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Haynes, Christine. "The Nineteenth Century." French Politics, Culture & Society 40, no. 3 (December 1, 2022): 99–127. http://dx.doi.org/10.3167/fpcs.2022.400305.
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In a self-reflective introduction to what was, sadly, his last publication, an essay collection, John Merriman lamented that the nineteenth century has been forgotten among historians of France. Noting the absence of books on this period in the Fnac bookstore at Les Halles in Paris, he wrote the following: In thinking about French history from 1815 to the present, one thing now seems perfectly clear to me. As time moves relentlessly along, the century between 1815 and World War I is in some ways far less visible than it was when I became a historian.…For years the shelves [of such bookstores] had been organized chronologically: the French Revolution and Napoleon, then the nineteenth century, subdivided, and then the Great War. But the sections now jumped from Napoleon to the Great War! What had happened to the long nineteenth century? (What happened to my books?)…The revolutions of 1830 and 1848, which had so engaged folks like me for quite some time, seemed to have had their day.
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Mann, Keith. "Christian Chevandier, Cheminots en greve: ou la construction d'une identite (1848–2001). Paris: Maisonneuve & Larose, 2002. 399 pp. 20 € paper." International Labor and Working-Class History 65 (April 2004): 182–85. http://dx.doi.org/10.1017/s0147547904260136.
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Christian Chevandier's Cheminots en Greve is a social, political, and institutional history of railroad workers in France from 1848 to 2001. It is told from the standpoint of the role of strikes in forming the occupational identity of these workers, known in France as cheminots (Chevandier finds the earliest use of the expression dating back to 1898; by the 1930s the Academie Francaise officially recognized it as a French word). Cheminots belong to various crafts and trades. They drive the trains, repair locomotives and rolling stock in shops and factories, sell tickets in stations and collect them in trains. Although the book is largely structured around a chronological account of railway strikes, Chevandier looks beyond the strike for sources of cheminot identity. These include the evolving structure of the French railroad system from private companies to state ownership, the role of skill and technological change, and especially union strategies, structures, and above all divisions. Along the way he revisits earlier treatments of French labor and railworker history, and takes up old historiographical controversies debating, confirming, and refuting well-known scholars from Annie Kriegel to historians of a younger generation like George Ribeill and Atsushi Fukasawa.
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Baczyńska, Beata. "En défense de l’honneur de la comedia de Castilla. En trois actes: 1635, 1792, 1830." Romanica Wratislaviensia 67 (July 23, 2020): 11–29. http://dx.doi.org/10.19195/0557-2665.67.2.
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La querelle du Cid and la bataille d’Hernani show how much French theatre was dependent on Spain: the Spanish comedia used to be criticised for its irregularity by the classics (Voltaire) and praised for liberality by the romantics (Hugo). The article presents three moments in the history of Spanish theatre and its political involvement. (1) Idea de la comedia de Castilla by José Pellicer de Ossau y Tovar, who defined twenty rules of Spanish comedia in 1635, is analysed in the context of the theatre activity at the very moment when the king of France decided to declare war on the king of Spain. (2) La comedia nueva o el café by Leandro Fernández de Moratín, a metatheatrical master-piece, is presented as a confrontation of the Enlightenment with traditional Spanish theatre. (3) Aben Humeya by Francisco Martínez de la Rosa, a Spanish liberal exiled in Paris, and its French premiere in July of 1830 shows the implication of politics and theatre in both France and Spain.
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DELUERMOZ, QUENTIN. "Police forces and political crises: revolutions, policing alternatives and institutional resilience in Paris, 1848–1871." Urban History 43, no. 2 (June 8, 2015): 232–48. http://dx.doi.org/10.1017/s0963926815000255.
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ABSTRACT:This article examines the relationship between police forces and Parisian society during the two final revolutions of nineteenth-century France in 1848 and 1871. The comparison between these two events reveals the existence of an alternative revolutionary project of ‘urban police’. It also shows, however, the relatively weak impact of these moments on long-term transformations of police organizations. This is all the more notable if we consider the Second Empire's municipal reform of 1854 that had a deep impact on the landscape of the Parisian police. Observing this general sequence helps thus to explore the modifications of police powers during revolutionary moments, and the dynamics of the non-linear transformation of police orders and urban societies in the nineteenth century.
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Diakov, Nikolai. "Islam in the Colonial Policy of France: from the Origins to the Fifth Republic." ISTORIYA 12, no. 5 (103) (2021): 0. http://dx.doi.org/10.18254/s207987840015901-0.
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History of relations between France and the Islamic world goes back to the first centuries of Hijra, when the Franks first faced the Caliphate and its troops in the Eastern and Western Mediterranean. On the eve of the New times Paris had already developed its numerous contacts with Turkey, Iran and the Arab West — the Maghreb area. The conquest of Algeria (from 1830) formed a basis of the French colonial empire in Africa and Asia with the growing role of Islam in political activities and ambitions of Paris. Millions of Muslims in French colonies contributed to growth of political and economic progress of their metropoly with its pretensions to become a great Muslim power. Meanwhile, thousands of them lost their lives during two great world wars of the 20th century. Waves of immigration gave birth to an impressive Islamic community (‘umma), in France, reaching about a million of residents by the middle of the 20th century. With the growth of Muslim immigration from Africa and the Middle East a number of Muslims among the natives of France also augmented. By the end of the last century the Muslims formed as much as about 10 % of the whole population of France. The “French Islam” born at the dawn of the 20th century. after a century of its evolution became an important civilizational reality of Europe, at times more attractive for the local youth than traditional Christian values, or the new ideals, brought with the winds of globalism, multiculturalism and a “non-stop consumerism”.
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Fishburn, Matthew. "Dwarf emus from Baudin's voyage (1800–1804): an overlooked engraving by Nicolas Huet (1770–1830)." Archives of Natural History 49, no. 2 (October 2022): 285–97. http://dx.doi.org/10.3366/anh.2022.0791.
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The French voyage of exploration to New Holland (Australia) between 1800 and 1804, commanded by Nicolas Baudin (1754–1803), made substantial natural history collections, notably capturing dwarf emus from the two distinct populations on King Island (Île King) in Bass Strait (December 1802) and Kangaroo Island (Île Decrès) (January 1803). Two of these emus survived their voyage to France, were housed briefly at the Empress Josephine's menagerie at Malmaison, and then the zoological park of the Jardin des Plantes in Paris. Both died in 1822. With the wild populations on both islands exterminated soon after Baudin's visit, two watercolours, one by Charles-Alexandre Lesueur (1778–1846) and one by Léon de Wailly ( fl. 1801–1824), have been central to the history of the dwarf emus. However, an important contemporary engraving by Nicolas Huet (1770–1830) depicting the two surviving emus in captivity has been overlooked. This essay explores the history of the images of the now extinct dwarf emus, as well as the production and significance of Huet's engraving.
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Restif-Filliozat, Manonmani. "The Jesuit Contribution to the Geographical Knowledge of India in the Eighteenth Century." Journal of Jesuit Studies 6, no. 1 (March 11, 2019): 71–84. http://dx.doi.org/10.1163/22141332-00601006.
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While the mapping activities of French Jesuits in China and New France have been extensively studied, those in India have received less attention. While benefiting from the French crown’s interest in using the Jesuits as a tool for empire, they did not help develop an overarching imperial structure like that of Spain and Portugal or that of the Manchu Qing Dynasty. The work of Jean-Venant Bouchet (1655–1732), Louis-Noël de Bourzes (1673–1735), Claude Moriset (1667–1742), Claude-Stanislas Boudier (1686–1757), Gaston-Laurent Cœurdoux (1691–1779), and many others was instead important in building linkages between institutions and individuals in Europe and India. It further allowed commercial cartographers in Paris and London like Guillaume Delisle (1675–1726), Jean-Baptiste d’Anville (1697–1782), and James Rennell (1742–1830) to develop a more sophisticated picture of the interior of India.
Dissertations / Theses on the topic "Paris (France) History 1830-1848"
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Gosselin, Ronald. "Les almanachs républicains : traditions révolutionnaires et culture politique des couches populaires de Paris (1840-1851)." Doctoral thesis, Université Laval, 1990. http://hdl.handle.net/20.500.11794/17628.
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Saint-Raymond, Léa. "Le pari des enchères : le lancement de nouveaux marchés artistiques à Paris entre les années 1830 et 1939." Thesis, Paris 10, 2018. http://www.theses.fr/2018PA100082.
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Cette thèse explore les ventes aux enchères publiques parisiennes, en analysant le lancement de nouveaux marchés artistiques entre les années 1830 et 1939. Pour cela, une base de données de 2 126 catalogues a été constituée, soit 286 076 œuvres intégralement retranscrites, puis ce corpus a été associé aux procès-verbaux des ventes correspondantes, conservés aux archives de Paris. Ces documents fournissent des informations sur les prix d’adjudication des objets, les vendeurs et les adjudicataires, et permettent ainsi de retracer précisément la provenance des œuvres, tout en menant une analyse quantitative du marché et des collections. Les procès-verbaux ont été complétés par les archives des commissaires-priseurs parisiens, en particulier leurs quitus ou relevés de comptes individuels.L’ensemble de ces sources a été pris en compte pour identifier ces « nouveaux » marchés artistiques et les acteurs qui firent le pari des enchères, en s’interrogeant sur les dispositifs de mise en valeur qui permirent d’assurer – ou non – le succès de leur lancement dans l’arène des ventes publiques. Cette interrogation touche l’histoire de l’art de façon très intime puisqu’elle analyse, de façon diachronique, le regard que les prescripteurs et les collectionneurs portèrent sur certains objets, les érigeant ou non au rang d’« œuvres » d’art. De façon corollaire, il s’agira d’étudier les raisons du succès ou de l’échec de tel ou tel type d’objets, ou de certains artistes plutôt que d’autres. Pour répondre à ces questions, une méthodologie pluridisciplinaire a été développée en histoire de l’art, utilisant les outils de visualisation propres aux humanités numériques et empruntant des techniques et des concepts à l’économie et à la sociologieThis research investigates the Parisian auction sales from the 1830 until the interwar period, with a particular focus on the launching of new artistic markets. To do so, 2,126 auction catalogues were collected and transcribed, then matched with the minutes of the sales, curated at the archives de Paris. This data gathering led to global yet accurate set of 286 076 artworks – paintings, drawings, sculptures, antiques, Asian, Oriental, pre-Columbian and “primitive” artefacts – mentioning the description of the works, their hammer prices and the identity of both sellers and purchasers. In addition of this corpus, the auctioneers’ archives were analyzed, with a particular focus on their individual quitus or account statements. Reconsidering the history of taste, these sources allow to identify the new artefacts which were sold at auction, the players who bet on these novelties, their incentives, and the market mechanisms they used in order to promote them – with success or not. A transdisciplinary methodology, based on art history, economics, sociology and digital humanities, enables to answer these issues
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Rebolledo-Dhuin, Viera. "La librairie et le crédit. Réseaux et métiers du livre à Paris (1830-1870)." Phd thesis, Université de Versailles-Saint Quentin en Yvelines, 2011. http://tel.archives-ouvertes.fr/tel-00768969.
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L'étude des libraires parisiens, à partir des faillites, permet de mettre en évidence leurs réseaux de financement. En empruntant les méthodes caractéristiques de la démographie des entreprises, de la prosopographie ou encore de l'analyse de réseaux, nous montrons que les mutations de la production du livre s'accompagnent d'une diffusion des boutiques au sein de l'espace parisien et de l'ouverture de crédit auprès des banques. Si l'endogamie professionnelle diminue parallèlement au financement interne, l'escompte commercial entre professionnels qui domine jusqu'au milieu du XIXe siècle, tend, à partir de cette date, à être récupéré par les banques locales, dont l'activité reste néanmoins complémentaire de celle des institutions publiques, centralisées ou non. Le succès de ces banquiers repose sur le fait qu'eux-mêmes sont issus du secteur du livre, où ils ont acquis une position sociale certaine avant d'ambitionner intégrer, en se spécialisant dans la finance, les premiers rangs de la sphère politico-économique nationale. L'analyse des faillites de libraires et de leurs réseaux de crédit souligne finalement l'évolution d'une économie relativement localisée, au sein de laquelle l'organisation productive pèse financièrement sur les fournisseurs, mais cette " chaîne du livre " n'est pas la seule en jeu dans la hiérarchie professionnelle. L'ampleur et la diversité de l'espace social des libraires paraissent essentielles dans la détermination de leur position relative au sein de la communauté de métier et de la société. Cette étude participe indirectement à l'histoire de la banque locale.
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Osborne, Jane. "An investigation of the romantic ballet in its sociocultural context in Paris and London, 1830 to 1850." Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1002028.
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Historians have made a considerable contribution to the study of the Romantic ballet in terms of chronological development, the Romantic movement in the arts and the contribution of specific dancers and choreographers; very little research has been attempted to date on the interrelationship between the dance form and the wide range of human experience of the period. This holistic approach provides insight into form, content and stagecraft; political, economic and social influences; the prevailing artistic aesthetic and cultural climate; sex, gender and class issues; and the priorities, value system and nuances of the times. Recent work by historians and social scientists (eg Brinson 1981, Adshead 1983, Spencer 1985, Hanna 1988, Garafola 1989) advocates a recognition of the role of social and cultural systems in the evaluation of dance. This approach further ackowledges the equal status of all cultures, and has opened up areas of African performing dance in cultural systems outside the west. My parallel investigation of the gumboot dance in its South African context, which appears in Appendix B, provides an example. The first half of the nineteenth century was characterized by the disruptive beginnings of the emergent industrial world, centred in Paris and London; and the Romantic ballet tradition reached its greatest heights at this time. Chapter one establishes the political, economic, social and artistic environment, and identifies middle class dominance as a key factor. Chapters two and three focus primarily on the three great ballets of the age, La Sylphide, 1832, Giselie, 1841, and Pas de Quatre, 1845, as expressions of the essential duality of the times, and of Romantic synaesthesia in the arts, which enabled them to transcend the pedestrian bourgeois materialism of faciliatators and audience. Chapter four examines the images of the idealized ballerina and the 'Victorian' middle class woman in relation to bourgeois male attitudes to female sexuality, gender and class. The conclusion sums up the themes of duality, middle class influence, and the Romantic aesthetic, and discusses the prevalent notion that this period was identified as a 'golden age' of the Romantic ballet.
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Loncle, Stéphanie. "Libéralisme et théâtre. Pratiques économiques et pratiques spectaculaires à Paris (1830-1848)." Thesis, Paris 10, 2010. http://www.theses.fr/2010PA100156.
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Les deux décennies de la monarchie de Juillet sont marquées par une accélération de la libéralisation des activités économiques et politiques en France. La vie théâtrale parisienne est un des espaces d’expérimentation de ces nouvelles pratiques. Cette thèse étudie dans un premier temps les modalités diverses et contradictoires de la libéralisation des activités théâtrales à travers notamment l’histoire de huit théâtres parisiens représentant la vie théâtrale dans toute sa diversité. L’actualisation du conflit entre les différentes instances théâtrales (auteurs, comédiens, spectateurs, critiques, directeurs) se traduit par l’émergence d’un « monde du théâtre » concurrentiel, contractualisé et marchand. Lieu d’expérimentations, le Paris théâtral est aussi le lieu d’une production théorique riche sur la question du libéralisme au théâtre : les hommes de théâtre eux-mêmes contribuent à la réflexion sur les enjeux et les contradictions de l’insertion du théâtre dans le monde libéral. Ce débat est en outre investi par des hommes de droit, des hommes politiques, des historiens et des économistes. Nous étudions ainsi la façon dont le libéralisme théâtral est pensé, légitimé, promu, interrogé, historicisé voire naturalisé par des acteurs très divers de ce « monde des théâtres ». Enfin légitimé et relativement autonome, le théâtre semble être libéré de l’intervention politique et avoir intégré le monde économique en devenant une « industrie » comme une autre. Mais cette intégration soulève des contradictions théoriques majeures dans le paradigme libéral car les pratiques spectaculaires, structurellement performatives, remettent en question la définition libérale de l’individu et de la société. Loin de signifier le désintérêt du pouvoir politique et économique pour le théâtre, la libéralisation théâtrale doit donc être appréhendée comme un changement de régime théâtral. Ce ne sont pas seulement les conditions économiques, politiques et sociales des activités théâtrales qui sont affectées par la modernité libérale mais le rapport même entre le théâtre et la société qui est modifié, reconfiguré. Le troisième volet de cette thèse est ainsi consacré à l’étude des potentialités critiques qui subsistent dans les pratiques scéniques à l’heure où le théâtre semble avoir conquis sa légitimité dans le mondeDuring the July Monarchy, French society is deeply transformed by the liberalisation of its political and economical activities. The Parisian theatrical life is a field of experiment of these new practices. Our thesis first studies the different and contradictory ways of the liberation of theatrical activities, in particular through the history of eight representative Parisian theatres. The traditional conflict between playwrights, actors, audience, critics and directors is updated within the framework of a “theatrical circle” characterized by free-market economy, competition, contractualization. Field of experiments, the Parisian theatrical life is also a theoretical object, at the heart of economical, political, juridical, historical and even philosophical debates. The second part of this work deals with the theoretical aspects of the phenomenon: how theatrical liberalism is thought, legitimated, questioned and promoted during the period? Theatre seems to be finally free to exist in society, without being controlled by politics and to become integrated into the economic field as if it were an industry.But this apparent integration actually reveals theoretical and practical deep contradictions that weaken the idea of liberalism. The performative nature of stage and theatre raises the issue of the liberal definition of the individual and society. Hence theatrical liberalism does not mean a political and economical lack of interest in theatre. On the contrary, it must be studied as a change of theatrical regime which affects not only social, economical and political conditions of theatrical activities, but the relationship between theatre and society, which is totally transformed. The third part of this work is thus dedicated to the study of critical potential of stage performances that remain (or don’t) just as theatre seems to have gained his social legitimacy
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Leblay, Anne. "Proscrits ibériques à Paris au temps des monarchies constitutionnelles (1814-1848)." Paris, EHESS, 2013. https://tel.archives-ouvertes.fr/tel-01419419.
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La présence à Paris des réfugiés politiques espagnols et portugais pendant la Restauration et la monarchie de Juillet est importante. Les émigrations ibériques jouent un rôle dans la création d’un premier statut des réfugiés au début de la monarchie de Juillet : une politique d’accueil qui s’inspire de la gestion des prisonniers de guerre est mise en place pour les Espagnols. À la surveillance individualisée et politique des réfugiés se substitue une politique générale de distribution de subsides et de résidence obligée qui tend vers un système de contrôle global. Mais, dans la continuité de la Restauration et malgré les déclarations officielles, l’assistance, reste partisane. L’organisation portugaise libérale entre 1828 et 1833 s’apparente à celle d’un État en exil qui assiste les réfugiés, développe une propagande active et poursuit le combat militaire. Pour les Espagnols libéraux, sous la Restauration, Paris est une place secondaire. Mais avec l’échec de la stratégie de « pronunciamientos », différents comités directeurs des réfugiés y sont expérimentés en 1830-1831. Malgré leur échec, ils montrent l’existence de nouveaux modèles politiques fondés sur la représentativité et la liberté d’expression. La présence des réfugiés interroge les identités. La proscription contribue à l’émergence d’un « nationalisme d’exil ». Les deux populations émigrent en famille. L’armée constitue un vecteur de solidarité, ainsi que, dans une moindre mesure, l’Église ou la franc-maçonnerie. Contrairement aux Portugais, beaucoup d’Espagnols exercent un emploi. Les émigrés politiques vivent à Paris dans un régime d’exception. La dimension de la ville permet aux réfugiés des deux nationalités de vivre séparés. La durée de l’exil des Espagnols ainsi que le fait que les « étrangers » et les « réfugiés » ne constituent pas encore des catégories clairement définies dans la société française postrévolutionnaire favorisent leur intégrationThe presence in Paris of Spanish and Portuguese political refugees is significant during Restauration and monarchie de Juillet. Iberic emigrations play their part in the creation of a first status of refugees at the beginning of monarchie de Juillet : an asylum policy, developed from the model of treatment of war prisoners, is created for the Spaniards. The individual and political surveillance towards refugees is replaced by a general policy of allocating “subsides” and setting residence is organized, which tends to a global control system. But, in the continuity of Restauration and despite official statements, refugees care remains biased. Portuguese liberal organization between 1828 and 1833 is close to a exiled State. It gives assistance to the refugees, realizes an active propaganda and carries on the military battle. During Restauration, Paris’ play is limited for the Spanish liberal. But with the failure of “pronunciamientos” strategy, various representative boards of refugees are tried out in 1830-1831. Despite their failure, they convey new political patterns based on representativeness and freedom of expression. Refugee situation also questions identity. Proscription contributes to the emergence of a nationalism “in exile”. Both populations emigrate with the family. The army is a conveyor of solidarity, as, to a lesser extent, Church and freemasonry. Unlike the Portuguese, a lot of Spaniards have a job. In Paris, political migrants are depending on a special system. Because of the size of the city, refugees of each nation can live separately. The long-lasting Spanish exile and the fact that “Foreigners” and “refugees” are not yet well-defined denomination in the French society born after the French Revolution help their integration
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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.
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Partiellement reconstituée pendant les journées révolutionnaires, la garde nationale de Paris est réorganisée par les nouveaux pouvoirs au lendemain des trois glorieuses. Les vainqueurs, orléanistes comme républicains, s'accordent pour présenter le garde comme une figure du combattant de juillet. Cette construction d'une garde héroïque est utilisée pour sortir de la situation révolutionnaire et définir la nature du régime. Ce faisant, elle dessine l'image d'une garde démocratique. Mais les choix conservateurs que la monarchie opère dans sa pratique du pouvoir s'accommodent mal de ce modèle révolutionnaire de l'institution. Le roi décide de se servir de la garde pour maintenir la fiction d'une légitimité populaire et justifier la répression des insurrections de 1832 et 1834 ; utilisant la loi et la discipline, il a les moyens de façonner sa garde. Celle-ci est présentée comme la « grande armée de l'ordre publique », une milice bourgeoise soutenant la monarchie de son choix. Mais l'histoire de la garde nationale de Paris est aussi celle de l'écart entre ce modèle officiel et les réactions des gardes nationaux où les stratégies de l'opposition. La milice devient l'un des lieux où s'expriment les aspirations mais aussi les frustrations des petite et moyenne bourgeoisies écartées du pays légal. Elle est également un instrument manipule par les républicains pour déstabiliser la monarchie orléaniste en contestant sa légitimité. Confronté aux aspirations des classes moyennes et aux contre-modèles de l'opposition, le modèle officiel de la milice échoue à s'imposer. L'histoire de Lagarde permet de saisir comment un instrument élabore et contrôlé par le pouvoir - du moins dans un premier temps - a pu se révéler dangereux pour la Monarchie de juillet.
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Lefils-Boscq, Marie-Claire. "La librairie parisienne sous surveillance (1814-1848) : imprimeurs en lettres et libraires sous les monarchies constitutionnelles." Versailles-St Quentin en Yvelines, 2013. https://janus.bis-sorbonne.fr/login?url=https://doi.org/10.15122/isbn.978-2-406-07312-3.
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Au temps des dernières monarchies françaises, la surveillance de la librairie s’appuie sur les textes fondateurs que sont le décret napoléonien du 5 février 1810 et la loi promulguée par Louis XVIII le 21 octobre 1814. Dans la capitale, centre des pouvoirs politiques et culturels de la France, imprimeurs et libraires parisiens font l’objet d’un contrôle particulièrement serré, orchestré par l’administration de la Librairie. Un imprimeur en lettres ou un libraire n’est autorisé à exercer qu’à condition de détenir un brevet, titre professionnel personnel, délivré par le roi sur proposition du ministre de tutelle de la Librairie. Le brevet constitue un instrument-clé dont se sert la Librairie pour asseoir son autorité. Par celui-ci, elle contrôle l’ « entrée en librairie » et elle peut brandir la menace de son retrait vis-à-vis des professionnels en exercice. Les inspecteurs de la Librairie ainsi que les commissaires de police se rendent dans les ateliers d’imprimerie et les boutiques, librairies et cabinets de lecture, pour contrôler le respect des procédures légales et la nature des ouvrages proposés au public. Au cours des différents règnes, de nouvelles lois complètent l’arsenal juridique en définissant les crimes et délits qui, en matière de publications, sont passibles de sanctions ainsi que le « tarif » des peines – amendes et emprisonnement – afférentes. L’étude de la surveillance de la librairie de 1814 à 1848 souligne les inflexions politiques d’un pouvoir monarchique hésitant entre liberté de la presse et censure inavouéeIn the days of France’s latest monarchies, the surveillance of bookselling relied on two founding laws: the napoleon decree of February 5th, 1810 and the law enforced by King Louis 18th on October 21st, 1814. In the capital, which was the heart of France’s political and cultural powers, Parisian printers and booksellers were being imposed a very strict control organized by the bookselling authority. A printer as well as a bookseller could only work provided they should be in possession of a patent, “brevet”, a professional license delivered individually by the king upon the suggestion of the ministry in charge of bookselling government. Therefore, a “brevet” became the key-instrument to strengthen the power of the bookselling management. By this means, they controlled the access to “bookselling” along with the threat of a potential withdrawal. Bookselling inspectors as well as police superintendents would go to printing workshops, booksellers and reading rooms to check whether legal procedures were being respected and which books were being proposed to the public. In the course of the different reigns, new laws completed the judicial arsenal by defining crime which, as far as publishing is concerned, was subject to fines or imprisonment. The study of the bookselling surveillance from 1814 to 1848 emphasizes the political changes of monarchies hesitating between freedom of the press and unspoken censorship
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Sauvé, Robert. "The July monarchy in France, 1830-1848: Bourgeois or 'notable'? An historiographical perspective: 1830-1988." Thesis, University of Ottawa (Canada), 1990. http://hdl.handle.net/10393/5977.
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DeLouche, Sean. "Face Value: The Reproducible Portrait in France, 1830-1848." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1405798734.
Full textBooks on the topic "Paris (France) History 1830-1848"
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Barricades: The war of the streets in revolutionary Paris, 1830-1848. New York: Palgrave, 2002.
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Annegret, Fauser, Everist Mark, and International symposium "The Institutions of Opera in Paris from the July Revolution to the Dreyfus Affair" (2004 : Chapel Hill and Durham, N.C.), eds. Stage music & cultural transfer: Paris, 1830-1914. Chicago: The University of Chicago Press, 2009.
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The formation of the Parisian bourgeoisie, 1690-1830. Cambridge, Mass: Harvard University Press, 1996.
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Seigel, Jerrold E. Bohemian Paris: Culture, politics, and the boundaries of bourgeois life, 1830-1930. New York, N.Y., U.S.A: Viking, 1986.
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Seigel, Jerrold E. Bohemian Paris: Culture, politics, and the boundaries of bourgeois life, 1830-1930. Baltimore: Johns Hopkins University Press, 1999.
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Second empire and commune: France 1848-1871. London: Longman, 1985.
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Smith, W. H. C. Second Empire and Commune: France, 1848-1871. 2nd ed. London: Longman, 1996.
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Seigel, Jerrold E. Paris bohème: Culture et politique aux marges de la vie bourgeoise, 1830-1930. Paris: Gallimard, 1991.
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Goblot, Jean-Jacques. Le Globe, 1824-1830: Documents pour servir à l'histoire de la presse littéraire. Paris: Honoré Champion éditeur, 1993.
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Proudhon et la banque du peuple (1848-1849). Paris: Connaissances et savoirs, 2010.
Find full textBook chapters on the topic "Paris (France) History 1830-1848"
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"George Musgrave, The Parson, Pen, and Pencil: Or, Reminiscences and Illustrations of an Excursion to Paris, Tours, and Rouen in the Summer of 1847 (London: R. Bentley, 1848), I, Pp. 124–135, II, Pp. 251–252." In A World History of Railway Cultures, 1830–1930, edited by Matthew Esposito, 50–54. Routledge, 2020. http://dx.doi.org/10.4324/9781351211710-5.
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Bergman, Jay. "Conclusion." In The French Revolutionary Tradition in Russian and Soviet Politics, Political Thought, and Culture, 491–98. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198842705.003.0016.
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Notwithstanding the inspiration, the legitimacy, and the fodder for political polemics France’s revolutions provided, the Bolsheviks would have been better off had they known nothing of the French Revolution, and of the revolutions in France that followed it in 1830, 1848, and 1871. The analogies they drew with these revolutions—even those they rejected to show how distinctive their own proletarian revolution would be—obfuscated and obscured more than they clarified. Indeed, the Bolsheviks’ unfortunate infatuation with French revolutions from 1789 to 1871 lends credence to James Bryce’s assertion in 1908 in The American Commonwealth that ‘the chief practical use of history is to deliver us from plausible historical analogies’.
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Diaz-Andreu, Margarita. "Archaeology and the 1820 Liberal Revolution: The Past in the Independence of Greece and Latin American Nations." In A World History of Nineteenth-Century Archaeology. Oxford University Press, 2007. http://dx.doi.org/10.1093/oso/9780199217175.003.0010.
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Nationalism did not end with Napoleon’s downfall, despite the intention of those who outplayed him in 1815. Events evolved in such a way that there would be no way back. The changes in administration, legislation, and institutionalization established in many European countries, and by extension in their colonies, during the Napoleonic period brought efficiency to the state apparatus and statesmen could not afford to return to the old structures. Initially, however, the coalition of countries that defeated the French general set about reconstructing the political structures that had reigned in the period before the French Revolution. In a series of congresses starting in Vienna, the most powerful states in Europe—Russia, Prussia, and Austria, later joined by Britain and post-Napoleonic France—set about reinstating absolutist monarchies as the only acceptable political system. They also agreed to a series of alliances resulting in the domination of the monarchical system in European politics for at least three decades. These powers joined forces to fight all three consecutive liberal revolutions that raged across Europe and the Americas, in 1820, 1830, and 1848, each saturated with nationalist ideals. The events which provide the focus for this chapter belong to the first of those revolutions, that of 1820 (see also Chapter 11), and resulted in the creation of several new countries: Greece and the new Latin American states. In all, nationalism was at the rhetorical basis of the claims for independence. The past, accordingly, played an important role in the formation of the historical imagination which was crucial to the demand for self-determination. The antiquities appropriated by the Greek and by Latin American countries were still in line with those which had been favoured during the French Revolution: those of the Great Civilizations. However, in revolutionary France this type of archaeology had resulted in an association with symbols and material culture whose provenance was to a very limited extent in their own territory (Chapter 11) or was not on French soil but in distant countries such as Italy, Greece, and the Ottoman Empire (Chapter 3).
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Bergman, Jay. "The Marxist Inheritance of the French Revolution." In The French Revolutionary Tradition in Russian and Soviet Politics, Political Thought, and Culture, 51–78. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198842705.003.0003.
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It was Marx and, to a lesser extent, Engels, who provided the Bolsheviks with a teleology of French revolutions, in 1789, 1830, 1848, and 1871, in relation to which they could situate their own anticipated revolution. Marx and Engels were not consistent in their evaluation of these revolutions, stressing while they were in progress the ability of individuals to alter the course of history and perhaps even to accelerate it. Indeed, they praised the Jacobins in the French Revolution for their success, albeit limited, in advancing the revolution beyond what the haute bourgeoisie believed to be consistent with its interests. But once Marx and Engels, after the failure of revolutions in France and the rest of Europe in 1848, realized that any repetition was unlikely for the foreseeable future, their admiration of the Jacobins diminished. Chapter 3 concludes with analysis of their infatuation, in the last years of their lives, with the terrorists of Narodnaia Volia, whose audacity in killing government officials and ultimately the tsar himself caused their ‘Jacobin’ sensibilities to re-emerge.