Relevant bibliographies by topics / Paris (France) History Restoration

Academic literature on the topic 'Paris (France) History Restoration'

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Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Paris (France) History Restoration"

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Haynes, Christine. "The Battle of the Mountains." Historical Reflections/Réflexions Historiques 44, no. 3 (December 1, 2018): 50–70. http://dx.doi.org/10.3167/hrrh.2018.440304.

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At the beginning of the Second Restoration, Paris was swept by a mania for roller coasters, which were dubbed montagnes russes after a Russian tradition of sledding on ice hills. Situating this phenomenon in the context of the military occupation of France following the defeat of Napoleon, this article analyzes one of the many plays featuring these “mountains,” Le Combat des montagnes (“The Battle of the Mountains”), and especially two of its main characters, La Folie (Folly) and Calicot (Calico Salesman). The “battle” over the roller coasters, it argues, was really a contest over how to redefine national identity around consumer culture rather than military glory. Through the lens of the montagnes russes, the article offers a new perspective on the early Restoration as an aftermath of war.
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Bann, Stephen. "Two Kinds of Historicism: Resurrection and Restoration in French Historical Painting." Journal of the Philosophy of History 4, no. 2 (2010): 154–71. http://dx.doi.org/10.1163/187226310x509501.

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AbstractThe historicist approach is rarely challenged by art historians, who draw a clear distinction between art history and the present-centred pursuit of art criticism. The notion of the ‘period eye’ offers a relevant methodology. Bearing this in mind, I examine the nineteenth-century phase in the development of history painting, when artists started to take trouble over the accuracy of historical detail, instead of repeating conventions for portraying classical and biblical subjects. This created an unprecedented situation at the Paris Salon, where such representations of history could be experienced as a collective ‘dream-work’, in Freud’s sense. In France, this new pictorial language dates back to the aftermath of the Revolution, and the activities of the ‘Lyon School’. Two artists, Richard and Révoil, were its leading proponents. However their initial closeness has obscured the differences in their approach to the past. Substituting for Freud’s ‘condensation’ and ‘displacement’ the concepts of ‘Resurrection’ and ‘Restoration’, I analyse the pictorial language of the two painters, taking two works as examples. The conclusion is that Révoil, also a collector, was a precursor of the historical museum, which convinces through accumulating objects. Richard, however, employs technical and rhetorical devices to evoke empathetic reactions, and anticipates the illusionism of cinema.
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Vasak, Anouchka. "Théâtre et thérapie de la maladie mentale (France, 1790–1815)." Romanica Wratislaviensia 67 (July 23, 2020): 213–25. http://dx.doi.org/10.19195/0557-2665.67.16.

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The theatrical experience conducted by the Marquis de Sade (1803–1814) with the lunatics of the Charenton asylum is a known fact. This practice, which was considered scandalous though it attracted the “Tout-Paris”, was supposedly part of the so-called “moral treatment” initiated by the alienist-physician Philippe Pinel, founder of modern psychiatry in France. The transition period from the French Revolution to the Empire and the Restoration was, indeed, a time of many transformations in the treatment of mental illness. In its relation to mental illness, theatre may serve as a yardstick for measuring power issues related to divergent conceptions of man and his freedom. But this moment of history, observed through the prism of the problematic of theatre/mental illness, also makes it possible to question our constantly changing approaches to the French Revolution.
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Zon, Bennett. "Plainchant in nineteenth-century England: a review of some major publications of the period." Plainsong and Medieval Music 6, no. 1 (April 1997): 53–74. http://dx.doi.org/10.1017/s096113710000125x.

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The history of plainchant in the nineteenth century is dominated by the various attempts at scholarly restoration both in Britain and abroad. Up to the middle part of the century these efforts were concentrated in France, although demands for revival were being voiced in Italy by Pietro Alfieri, and in Germany by Franz Xaver Witt, amongst others. The first scholarly attempt at the restoration of plainchant was made in 1846 as a result of Jean-Louis-Félix Danjou's discovery of the eleventh-century tonary of St Bénigne de Dijon. Like the Rosetta stone, it enabled scholars to decipher the meaning of symbols which had previously eluded them. In this case the manuscript is notated with both neumes and alphabetic script, so that for the first time the melodic ductus of ancient neumes could be interpreted with certainty. This manuscript became the source for the Rheims-Cambrai Graduale Romanum complectens missas, printed in Paris in 1851, later to be published under the auspices of Cardinal Sterckx of Mechelen and edited by Duval and Bogaerts. Despite the quality of the Mechlin Graduale, it did not fail to cause immense controversy. Louis Vitet, for example, ‘was astonished that a group of four notes in the Paris gradual of 1826 should be replaced in the Rheims-Cambrai edition with a melisma of 48 notes’. Other efforts at revival were equally plagued by controversy. Lambillotte's facsimile edition of St Gall 359, published, in 1851, proved to be ‘completely unreliable’, and the 1857 Parisian Graduale romanum upon which it is based ‘contained truncated melodies’.
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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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Hallman, Diana R. "Napoleonic Commemoration on the Operatic Stage." French Historical Studies 45, no. 2 (April 1, 2022): 287–317. http://dx.doi.org/10.1215/00161071-9531996.

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Abstract The retour des cendres, the commemorative return of Napoleon's remains in 1840, represented an important gesture of Napoleonic restoration in the July Monarchy, along with the creation of monuments, paintings, histories, plays, and encomiums to the defeated emperor. The monarchy's commemoration expanded to the stage of the Paris Opéra in 1841 with the appearance of La reine de Chypre, the five-act grand opera by Fromental Halévy and Henri de Saint-Georges, which reverberated with sonic, visual, literary, and political allusions to the Napoleonic legend and overt references to the ceremonial return of the emperor's ashes, including its use of the grandes trompettes from Napoléon's cortege and Invalides service. In its historical reframing of Catarina Cornaro's early fifteenth-century rise to power in Cyprus and defiance of Venetian tyranny, the nostalgic portrayal of exiled French chevaliers, particularly the dying king Lusignan, evoked France's fallen hero as it joined in the dynamic reshaping of imperial memory. Le retour des cendres, le rapatriement commémoratif de la dépouille de Napoléon en 1840, faisait partie d'un ensemble de gestes de restauration napoléonienne pendant la monarchie de Juillet : monuments, peintures, œuvres d'histoire, pièces de théâtre et panégyriques à l'empereur vaincu. La commémoration du règne impérial par la monarchie atteint la scène de l'Opéra de Paris en 1841, avec le début de La reine de Chypre, le grand opéra en cinq actes de Fromental Halévy et Henri de Saint-Georges. L'opéra fait résonner des allusions sonores, visuelles, littéraires et politiques à la légende napoléonienne et des références manifestes au retour des cendres, y compris l'utilisation des grandes trompettes du cortège de Napoléon et de la cérémonie d'inhumation aux Invalides. Dans son remodelage historique de la montée au pouvoir en Chypre de Catarina Cornaro au début du XVe siècle et de son mépris de la tyrannie vénitienne, le portrait nostalgique des chevaliers français exilés, en particulier le roi mourant Lusignan, évoque le héros déchu de la France tout en renouvelant la mémoire impériale.
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POPKIN, JEREMY D. "BACK FROM THE GRAVE: MARC FUMAROLI'S CHATEAUBRIAND." Modern Intellectual History 2, no. 3 (October 10, 2005): 419–31. http://dx.doi.org/10.1017/s1479244305000557.

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Marc Fumaroli, Chateaubriand: Poésie et terreur (Paris: Fallois, 2003)Has the time come to revive François-René de Chateaubriand (1768–1848), author of Atala and René, the novels that defined romanticism in France and, above all, of the immense Mémoires d'outre-tombe (“Memoirs from beyond the grave”), perhaps the most ambitious of all French autobiographical projects? What does an eighteenth-century provincial nobleman's son, author of fanciful tales of encounters with North American “noble savages,” apologist for medieval Christianity, and unsuccessful proponent of a Bourbon restoration after 1815, have to say to twenty-first-century readers? The first important study of Chateaubriand's career, the nineteenth-century literary critic Sainte-Beuve's Chateaubriand et son groupe littéraire sous l'Empire, written in 1849, firmly assigned the great romantic author to an earlier phase of French letters. Commenting on the just-published posthumous Mémoires, Sainte-Beuve admitted that the work revealed Chateaubriand's “immense talent as a writer,” but damned the work by saying that “he reveals himself in all his egotistical nakedness.” The distinguished French literary scholar Marc Fumaroli has now set out to reverse these verdicts on the man and the Mémoires.
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Nikolaev, D. D. "France and the French in “Okayannye dni” by I. A. Bunin." Studies in Theory of Literary Plot and Narratology 15, no. 1 (2020): 207–22. http://dx.doi.org/10.25205/2410-7883-2020-1-207-222.

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One of the main motives in “Odessa” part of I. A. Bunin’s “Okayannye dni” is connected with France. For the first time “Okayannye dni” was published in 1925 on the pages of Paris émigré newspaper “Vozrozhdenie”, and Bunin's text was addressed not only to Russian, but also to foreign audience, primarily French. The editorial circumstances of the first publication should be taken into account when explaining the significance of the “French” motives, but journalistic logic of 1925 follows the specific circumstances of life in Odessa and related author’s experience of 1919. “The French” appear in the first fragment of the “Okayannye dni”, published in the first issue of “Renaissance” on June 3, 1925. In the newspaper publication the starting point is the decision of the French troops to leave Odessa. Bunin does not directly accuse France of abandoning the city and its inhabitants, but then constantly returns to the motive of unfulfilled hopes associated with the French. The French navy destroyer becomes a symbol of the hopes and their collapse. Two other lines connecting Russia and France are also pointed in the first fragment of the “Okayannye dni”. Bunin writes about modern political events and about French history. Bunin constantly reminds the French of their historical responsibility for committing and canonizing their “great” revolution, thus setting an example of the Russian revolution. Among the semantic centers of the “Okayannye dni” in the newspaper publication are fragments about the leaders of the French revolution, in which Bunin refers to the book “Vielles maisons, vieux papiers” by G. Lenotre. References to Lenotr’s book help to avoid a negative assessment of the French revolution as a view of the Russian “from the outside”. Significant changes in the text of the “Okayannye dni” in the book edition in Berlin in 1935 also relate to French motives. Their significance is reduced both by removing fragments and by the restoration of the natural chronological structure, in which the “Okayannye dni” now begin in Moscow on January 1, 1918, not by departure of the French troops from Odessa in 1919.
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Ainian, Alexander Mazarakis. "Archaic Sanctuaries of the Cyclades: Research of the Last Decade." Archaeological Reports 59 (January 2013): 96–102. http://dx.doi.org/10.1017/s0570608413000124.

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In recent years much progress has been made in the study of the sanctuaries of the Cyclades, both in the field, with new excavations, as well as in restoration projects, and also towards their publication.A research project entitled Sanctuaries and Cults in the Cyclades was approved as part of a research grant attached to the Chaire Internationale Blaise Pascal for 2012/2013 awarded to me by the French state and the Regional Council of Ile-de-France. The project started in October 2012, in collaboration with the University of Paris 1 (Franis Prost) and the École pratique des hautes études (François de Polignac), and is still in progress. I have been assisted by Jean-Sébastien Gros, who designed the related website and database, Yannis Kalliontzis, who is responsible for the compilation of the written sources associated with the cults in the Cyclades (mostly the inscriptions referring to cult and cult places) and Olga Kaklamani who is responsible for compiling the basic bibliography and catalogues of cult places. The chronological scope of the project is restricted to the Geometric and Archaic periods, though the developments of the Classical era are largely taken into account. The Hellenistic and Roman periods have not been included in the compilation of the archaeological data, with the exception of late inscriptions which could refer to possible earlier cults. An interactive website and online database are in preparation and will be launched soon, hosted by the server of the Department of History, Archaeology and Social Anthropology of the University of Thessaly.
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Stănescu, Mihai. "From Daguerreotype to Autochrome: An Incursion in European, Colonial and Romanian Pharmaceutical and Medical Photography." Studia Universitatis Babeș-Bolyai Historia 66, no. 1 (February 2022): 159–70. http://dx.doi.org/10.24193/subbhist.2021.1.08.

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"Pharmacists have the ability to be chemists and that is the reason they possess the knowledge to make photographs. For that purpose, especially in the 19th century, some pharmacists were photographers, so the two professions are related to a certain extent. The daguerreotype was an invention that was brought to the attention of the public in the summer of 1839 in Paris by Louis Daguerre. Although it was a French invention, it enjoyed a huge success in the United States, and for that purpose the most numerous daguerreotypes derive from the American continent. Some daguerreotypes from the pharmaceutical and medical domain will be presented in this work: a picture of the pharmacist Martin (Gamas), of the physician Charles Abadie and of the physician Gustave Adolphe Raichon. The description of the daguerreotypes will include some other particular examples of empirical restoration from the collection of the author. Another type of photography, important for the history of photography, is the autochrome, one of the first colour photographic process available to the public. It was invented by the Lumière brothers. An example of medical photography from colonial France (Morocco), portraying a case of leprosy, will be presented as well. In the end, some examples from the European and Romanian photography will illustrate the role of the pharmacy and of the pharmacist in the 19th century-early 20th century, as a snapshot of the health professional of that period. In conclusion, the picture speaks for itself and somehow, it can be a vivid time machine for the reconstruction of the past, not only in the fields of pharmacy and medicine, but in any other field as well. Keywords: Daguerreotype, autochrome, pharmacy, medicine, old photography, photography collection. "
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Dissertations / Theses on the topic "Paris (France) History Restoration"

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Harkett, Daniel. "Exhibition culture in Restoration Paris." View online version; access limited to Brown University users, 2005. http://catalog.hathitrust.org/api/volumes/oclc/73488260.html.

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Thesis (Ph.D.)--Brown University, 2005.
Vita. Thesis advisor: Kermit S. Champa. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 271-289).
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Porter, Abigail M. "Wetlands in the Urban Landscape: The Process of Wetlands Restoration in Baltimore, Maryland and Paris, France." Ohio University / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1058301973.

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Macdonald, Simon James Stuart. "British communities in late eighteenth-century Paris." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609294.

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Xiu, Huajing. "Shanghai - Paris : Chinese painters in France and China, 1919-1937." Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365677.

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Archer, Janice Marie. "Working women in thirteenth-century Paris." Diss., The University of Arizona, 1995. http://hdl.handle.net/10150/187182.

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This thesis examines the role of women in the Parisian economy in the late thirteenth century. The Livre des metiers of Etienne Boileau offers normative provisions regarding societal structures that permitted but restricted the participation of women, while the tax rolls commonly known as the roles de la taille de Philippe le Bel furnish numbers which show their actual participation. While these sources are well known, they have not heretofore been rigorously examined. Conclusions about women based on them have been amorphous. Married women are nearly invisible in these records, but unmarried women and widows headed 13.6% of Parisian workshops. Women monopolized the Parisian silk industry. About one-third of Parisian women in the late thirteenth century worked in jobs traditionally considered "women's work," including the preparation of food and clothing, peddling food on the street, and providing personal services. The other two-thirds did nearly every kind of work that men did. A "putting out" system was well in place in Paris at this time. Women classified as chambrieres or ouvrieres worked at home, spinning and weaving raw materials provided by an entrepreneur and selling back to the entrepreneur the finished product. Working at home allowed a woman to combine household duties with production for the marketplace. Girls usually learned a trade by working alongside their parents. Formal apprenticeships were less common for girls than for boys. While women could and did participate in nearly every trade, their numbers were concentrated in the lowest-paid metiers. The few women who practiced trades dominated by men were much more successful financially.
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John, Philip Owen. "Publishing in Paris, 1570-1590 : a bibliometric analysis." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1971.

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This thesis is an examination of the printing industry in Paris between 1570 and 1590. These years represent a relatively under-researched period in the history of Parisian print. This period is of importance because of an event in 1572 – the St Bartholomew’s Day Massacre, and an event in 1588 – the Day of the Barricades and the subsequent exit from Paris of Henry III. This thesis concerns itself with the two years prior to 1572 and two years after 1588 in order to provide context, but the two supporting frames of this investigation are those important events. This thesis attempts to assess what effect those events had upon the printing industry in the foremost print centre of both France and Western Europe. With the religious situation in Paris quietened was there any concrete change in the 1570s and 1580s regarding the types of books printed in Paris? Was there any attempt to exploit this religious stability by pursuing the ‘retreating’ Protestant confession, or did the majority of printers turn away from confessional arguments and polemical literature? What were the markets for Paris books: were they predominantly local or international? The method by which these questions have been addressed is with a bibliometric analysis of the output of the Paris print shops. This statistical approach allows one to address the entire corpus of a city’s output and allows both broad surveys of the data in terms of categorisation of print, but also narrower studies of individual printers and their output. As such this approach allows the printing industry of Paris to be surveyed and analysed in a way that would otherwise be impossible. This statistical approach also allows the books to be seen as an economic item of industrial production instead of purely a culture item of artistic creation. This approach enhances rather than reduces the significance of a book’s cultural importance as it allows the researcher to fully appreciate the achievement and investment of both finance and time that was necessary for the completion of a well printed book.
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Munier, Véronique. "Représentation discursive de l'enthousiasme : Révolutions de Paris." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26746.

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The patriots depend on the uprising of the people and on popular enthusiasm in general, both for the physical and for the ideological support to achieve the revolution. In order to ensure the progress of the revolution, they will strive to control and direct popular agitation through written discourse. Revolutions de Paris, one of the most popular newspapers of the French Revolution, offers a good example of that: events are interpreted through narratives that distinguish 'good' popular uprisings from 'bad' ones, thus outlining a plan for the contribution of popular enthusiasm to the revolution.
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Maire, Claude. "Commerce et marché du fer à Paris d'environ 1740 à environ 1815." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=74009.

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Wemp, Brian A. (Brian Alan). "The Paris Commune and the French right : the reaction of the bourgeoisie." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23857.

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The historiographic struggle over the representation of the Paris Commune, as begun by the daily press in 1871 and continued in the works of many subsequent scholars, is in fact part of a larger ideological battle. This thesis argues that in order to understand the significance of the Commune, it is necessary to return to contemporary writings. It studies the bourgeois reaction to the Paris Commune using as source material diaries, correspondence and monographs of upper class observers of the Commune. Through these writings, the Commune is seen as a socialist threat to bourgeois stability, and a sign of the disintegration of the ideals of the French Revolution.
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Halloran, Brian Michael. "The Scots College Paris, 1653-1792." Thesis, University of St Andrews, 1996. http://hdl.handle.net/10023/13645.

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The aim of this dissertation is to present a composite picture and evaluation of the Scots College Paris from the establishment of a Prefecture Apostolic in Scotland in 1653, until the eclipse of the college in 1792. In order to show the Mission needs that a Scottish college would have to meet, this study began with a preliminary survey of aspects of Catholicism from the creation of the Jesuit mission in 1584 until the appointment of a secular Prefect in 1653, followed by an exposition of what little is known about the first foundation of the College (1325-1603) and the first fifty years of the second foundation (1603-1653), This review showed that the Scots College in Paris was in an excellent position to further the aims of the Scottish Catholic Mission. The history of the college was then examined chronologically by principalships, but it was found necessary to devote separate chapters to three topics, Jacobitism, Jansenism, and the College archives. The investigation indicated that the Scots College Paris had given considerable beneficial service to the Scottish Catholic Mission, but preoccupation with the Jacobite cause, and a reactionary stance as regards the Constitution Unigenitus deflected the staff from the task of preparing students for the priesthood and ultimately led to baneful consequences for Scottish Catholicism. Quarrels with the Jesuits and internal quarrels amongst the secular clergy contributed to the decline of the college. The college did, however, assist in the education of about seventy priests, provided three of our earliest Bishops, played a major role in the establishment of seminaries on Scottish soil, and built up a library and archives of which even the remnant is an invaluable resource for historians.
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Books on the topic "Paris (France) History Restoration"

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McWilliam, Neil. A bibliography of salon criticism in Paris from the Ancien Régime to the Restoration, 1699-1827. Edited by Schuster Vera, Wrigley Richard, and Meker Pascale. Cambridge [England]: Cambridge University Press, 1991.

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Johnson, Susan. Péché d'orgueil. Paris: Editions J'ai lu, 2006.

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Reading and the work of restoration: History and scripture in the theology of Hugh of St. Victor. Toronto: Pontifical Institute of Mediaeval Studies, 2009.

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Le Lycée Elisa Lemonnier: Leonard, Weissmann. Paris: Archibooks + Sautereau, 2010.

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Des ins de chantier: La restauration du Petit Palais. Paris: Paris Musées, 2006.

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Dardennes, Christian. Dessins de chantier: La restauration du Petit Palais. Paris: Paris musées, 2005.

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Christophe, Demontfaucon, ed. La Salle Pleyel: Lieu de modernité = at the heart of modernity. Paris: Pleyel, 2006.

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Entretiens du patrimoine (2001 Paris, France). Le regard de l'histoire: L'émergence et l'évolution de la notion de patrimoine au cours du XXe siècle en France : Entretiens du patrimoine, Cirque d'hiver, Paris, 26, 27 et 28 novembre 2001. Paris: Fayard, 2003.

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Gare Saint-Lazare: Une rénovation. Paris: Achibooks+Sautereau, 2012.

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The coral thief: A novel. New York: Spiegel & Grau, 2009.

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Book chapters on the topic "Paris (France) History Restoration"

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Popkin, Jeremy D. "The Restoration." In A History of Modern France, 83–91. Fifth edition. | New York, NY : Routledge/Taylor & Francis Group, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781315150727-10.

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Miller, Stuart. "Restoration France 1815–48." In Mastering Modern European History, 63–72. London: Macmillan Education UK, 1997. http://dx.doi.org/10.1007/978-1-349-13789-3_5.

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Miller, Stuart T. "Restoration France 1815–48." In Mastering Modern European History, 69–81. London: Macmillan Education UK, 1988. http://dx.doi.org/10.1007/978-1-349-19580-0_5.

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Popkin, Jeremy D. "The Paris Commune and the Origins of the Third Republic." In A History of Modern France, 141–50. Fifth edition. | New York, NY : Routledge/Taylor & Francis Group, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781315150727-16.

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Ginoux, Jean-Marc. "The First International Conference on Nonlinear Processes: Paris 1933." In History of Nonlinear Oscillations Theory in France (1880-1940), 165–76. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-55239-2_7.

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"Challenges for Diadromous Fishes in a Dynamic Global Environment." In Challenges for Diadromous Fishes in a Dynamic Global Environment, edited by Eric Rochard, Patricia Pellegrini, Julie Marchal, Mélanie Béguer, Dominique Ombredane, Géraldine Lassalle, Erwan Menvielle, and Jean-Luc Baglinière. American Fisheries Society, 2009. http://dx.doi.org/10.47886/9781934874080.ch44.

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<em>Abstract</em>.-The Seine River, like other large and developed European river basins, has lost most of its native diadromous fish populations since the Industrial Revolution. A restoration program has been planned to recover water quality and fish biodiversity in the Seine basin. In this prospective study, we used a dual approach (ecological and anthropological) to prioritize the 11 historic diadromous fish species for restoration. Using generalized additive models and geographic information systems, we assessed which species would have the highest probability of recovery and drew maps of their potential favorable habitats. Three fish appear to be good candidates as flagship species for a recovery plan: smelt <em>Osmerus eperlanus</em>, which has came back into the lower part of the basin; Allis shad <em>Alosa alosa</em>, a few individuals of which have recently been observed upstream from Paris, France; and brown trout <em>Salmo trutta</em>, which is limited to estuarine tributaries. Our anthropological survey revealed that for most citizens polled, these species have no particular significance. These citizens are not in favor of these fish species' recovery because it would lead to changes (e.g., to restore the upstream-downstream connectivity) and new constraints (e.g., rules of management). To address this potential conflict, we studied a conciliation process with the human inhabitants from one subbasin.
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"The Restoration." In A History of Modern France, 84–92. Routledge, 2016. http://dx.doi.org/10.4324/9781315508214-11.

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"Political history of Île-de-France, 1789–2001." In Paris, 43–70. Agenda Publishing, 2021. http://dx.doi.org/10.2307/j.ctv25tnx1t.8.

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"Social, economic and spatial history of the Île-de-France metropolis." In Paris, 15–42. Agenda Publishing, 2021. http://dx.doi.org/10.2307/j.ctv25tnx1t.7.

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Neveu, Érik. "The Paris-London Line of Cultural Studies." In Cultural History in France, 279–91. Routledge, 2019. http://dx.doi.org/10.4324/9780429295386-30.

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Conference papers on the topic "Paris (France) History Restoration"

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Marinković, Milica. "RAZVITAK FRANCUSKE ADVOKATURE U XIX VEKU." In XVII majsko savetovanje. Pravni fakultet Univerziteta u Kragujevcu, 2021. http://dx.doi.org/10.46793/uvp21.1067m.

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The paper is dedicated to the development of advocacy in France throughout history, and special attention is paid to the struggle of lawyers to repair the damage caused to their position by the Bourgeois Revolution. The goals of the legal struggle were fully achieved in the period of the Third Republic, rightly called the "Republic of Lawyers", when they took over the legislative and executive power. French lawyers, especially in the 19th century, were often real political dissidents. With their work as a politival opposition, they redefined the relationship between the state and society and set a clear border of state power, all of which enabled the easier emergence of a liberal constitutional monarchy, and then a republic. Due to the constant opposition activities in the courtroom, the lawyers demonstrated in the best possible way how closely law and politics stand in each state. In the introductory chapter of the paper, the author gives an overview of the historical development of advocacy from the Frankish period to the Revolution itself. During the Old Regime, lawyers enjoyed the status of "secular clergy" and, although members of the Third Class, were an unavoidable political factor in absolutist France. The second chapter contains an analysis of the devastating impact of the Revolution on the legal profession and timid attempts to improve the position of the legal profession with the advent of the Restoration. The third chapter provides an overview of the period from 1830 to 1870, which was characterized by the increasingly serious interference of lawyers in politics in order to fight for the advancement of the profession. The chapter on the Third Republic talks about the successful outcome of the lawyer's fight for their own rights, and the final chapter talks about the tendencies in the French legal profession in the 20th century.
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Ponce Gregorio, Pedro. "La forme du temps à Moscou." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.582.

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Resumen: Sería el 2 de septiembre de 1931, mediante carta privada remitida por un tal B. Breslow en calidad de Representante Comercial de la URSS en Francia, cuando Le Corbusier recibe la invitación a participar en el concurso del que sería para muchos el edificio esencial del país, el Palacio de los Soviets de Moscú. Un edificio que en consecuencia, además de encarnar la voluntad de las masas trabajadoras rusas, debía convertirse de manera análoga, allí donde ya se hallaba construida la catedral de El Salvador, en el monumento artístico-arquitectónico de la todavía maltrecha capital soviética. Este y no otro es el punto en el que la presente «forma del tiempo» se inscribe: en el continuo devenir que el proyecto desarrolla dentro del número 35 de la rue de Sèvres de París, a fin de desempolvar parte de aquel rastro creativo velado por la historia, esto es, desandar la línea de los Soviets. Abstract: It was around september the second, 1931, on a private letter dispatched by some B. Breslow acting as Comercial Representative of the URSS in France, when Le Corbusier received the invitation to participate in the contest of the one that would be for many the essential building of the country, the Palace of the Soviets in Moscow. A building that for that matter would not only enbodies russian´s working class will, but also should become in the same way, there where the El Salvador cathedral was built, the artistic-architectural monument of the still struggling soviet capital. This and not else is the point in which the actual "shape of the time" it is enrolled: on the developed by the project inside the number 35 of the rue de Sèvres in Paris, in order to dust off part of that creative trace veiled by history, this is, to walk back along the line of the Soviets. Palabras clave: Tiempo; composición; simbología; circulación; técnica; Palacio de los Soviets. Keywords: Time; composition; symbology; circulation; technique; Palace of the Soviets. DOI: http://dx.doi.org/10.4995/LC2015.2015.582
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