Dissertations / Theses on the topic 'Paris (France) History Siege'
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Chevignard, Denis. "Les corps auxiliaires recrutés dans l'arrondissement de Beaune en 1870." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL086.
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Héritière des anciennes milices du royaume de France, la garde nationale a été officiellement créée en 1791 et était initialement chargée du maintien de l’ordre. Elle connut bien des vicissitudes au gré des régimes qui se sont succédé et fut dissoute en 1852. Devant la menace que la victoire prussienne de Sadowa, en 1866, faisait peser sur la France, Napoléon III créa la garde nationale mobile en 1868 et c’est elle qui, avec la garde nationale mobilisée et les francs-tireurs, suppléa l’armée française, défaite à Sedan et enfermée dans Metz, pour continuer la lutte contre l’envahisseur en 1870-1871. L’arrondissement de Beaune dut lever quatre bataillons et demi qui furent principalement appelés à participer à la défense de Paris et à la répression de la révolte kabyle. À l’instar des corps auxiliaires recrutés dans les autres départements, ces troupes, levées dans l’impréparation la plus totale, ont suscité l’espoir et n’ont pas démérité. À défaut d’avoir pu rétablir la situation en France, elles ont permis qu’à la défaite ne s’ajoute pas la déstabilisation en Algérie. Après la guerre, les anciens de ces corps ont pleinement imprégné la société et contribué à forger l’esprit de revancheThe National guard was established in 1791 as a direct descendent of the former militias in the Kingdom of France. The National guard was first tasked with policing, and, during the regimes that followed, experienced various ups and downs before disbanding in 1852. In 1868, however, Napoléon III created the garde nationale mobile to address the impending threat from the Prussian victory in Sadowa in 1866. In 1868, the garde nationale mobile supplemented the regular Army, which had suffered defeat in Sedan and had been pinned down in Metz. Alongside the mobilized garde nationale and the franc-tireurs, the garde nationale mobile continued fighting the invasion forces in the years 1870-1871. The arrondissement of Beaune had to form four battalions and a half through levée en masse. These were mainly tasked with the defense of Paris and the repression of the Kabyle revolt. Just like the corps auxiliaires recruited in the other départements, these conscripted troops were thoroughly unprepared, although they did raise hopes and fought bravely. Despite failing to restore the status quo in France, they did ensure that destabilization was not exacerbated in Algeria. After the 1870 war, the veterans of these forces were at the heart of the society and contributed to forge the spirit of revenge
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Siegel, Suzie. "Safe at home [electronic resource] : agoraphobia and the discourse on women's place / by Suzie Siegel." University of South Florida, 2002. http://purl.fcla.edu/fcla/etd/SFE0000025.
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Title from PDF of title page.Document formatted into pages; contains 90 pages.
Thesis (M.A.)--University of South Florida, 2001.
Includes bibliographical references.
Text (Electronic thesis) in PDF format.
ABSTRACT: My thesis explores how discourse and material practices have created agoraphobia, the fear of public places. This psychological disorder predominates among women. Throughout much of Western history, women have been encouraged to stay home for their safety and for the safety of society. I argue that agoraphobic women have internalized this discourse, expressing fears of being in public or being alone without a companion to support and protect them; losing control over their minds or their bodies; and endangering or humiliating themselves. Therapeutic discourse also has created agoraphobia by naming it, categorizing the emotions and behaviors associated with it, and describing the characteristics of agoraphobics.
The material practice of therapy reinforces this discourse. Meanwhile, practices such as rape and harassment reinforce the dominant discourse on women&softsign;s safety. I survey psychological literature, beginning with the naming of agoraphobia in 1871, to explain why the disorder is now diagnosed primarily in women. I examine nineteenth-century discourse that told women they belonged at home while men controlled the public domain. In 1871, the Paris Commune revolt epitomized the fear of women publicly out of control. I return to Paris a century later for a reading of the novel Certificate of Absence, in which Sylvia Molloy explores identity through the eyes of a woman who might be labeled agoraphobic.
I ask whether homebound women are resisting or retreating from a hostile world. Instead of seeing agoraphobia only as a personal problem, people should question why so many women fear themselves and the world outside their home.My methodology includes an analysis of nineteenth-century texts as well as current media, prose, and poetry. I also support my arguments with material from professional journals and nonfiction books in different disciplines. Common to feminist research, an interdisciplinary approach was needed to situate a psychological disorder within a social context.
System requirements: World Wide Web browser and PDF reader.
Mode of access: World Wide Web.
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Galby-Marinetti, Édouard. "Le livre-journal et la démocratie des consciences : le XIXe siècle dans le Paris assiégé." Montpellier 3, 2009. http://www.biu-montpellier.fr/florabium/jsp/nnt.jsp?nnt=2009MON30025.
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La chute de l’empire, le 4 septembre 1870, puis le siège de Paris par l’armée prussienne cristallisent un ensemble de situations qui mobilise l’expérience, la culture et les fantasmes des Français du XIXe siècle : guerre d’invasion, révolution, libertés de la parole, justices sociales. Un genre hybride naît dans ce laboratoire obsidional, croisant une écriture diariste avec un compte rendu de la parole publique. Sous la forme du fragment journalier, ces ouvrages conjuguent l es faits collectifs et les faits intimes qu’ils soumettent à une investigation critique fondée sur l’exactitude et la prise sur le vif. Cette expression composée de soi et d’autrui, lecteur pris directement à témoin, est le fruit d’une transformation durab le des conditions de connaissance des hommes dans la cité moderne. Par l’amplitude du phénomène et l’intégration de son procédé aux genres littéraires majeurs (nouvelles, contes, romans, mémoires), elle constitue une expression de ce temps, un dire du présent. Ce projet collectif de déclaration de soi concrétise une conception de l’histoire renouvelée. Il est l’aboutissement d’un siècle de recherche romantique, la coïncidence d’un subjectivisme démocratisé avec les critiques positives, affirmation d’un nouv el homme de civilisation parvenu au premier terme de sa conscience d’être universelThe fall of the Second Empire, on the 4 th of September 1870, and the siege of Paris by the Prussian army crystallized some fundamental changes. This transformation evokes experiences, culture and the fantasies of the French population during the 19 th century including invasion warfare, revolution, freedom of talk and social justice. A kind of hybrid genre is born in the obsidional laboratory, blending a diaristic process and a personal selection of public proclamations. According to the method of daily, fragmentary writing, those texts combine intimate facts and public facts, all extracted from an investigation based on the loyalty to reality and a dynamic and immediate view. This self-expression meant for others who serve as witness and lecteur, was possible because of the conditions on general knowledge in the modern city. As the result of the extension of this writing phenomena and its integration into all literature (tales, short stories, novels, memoirs), it describes a time, a narrative of the present. This collective project of declaiming oneself materializes the new concept of history. It gives a conclusion to the romantic research, a gathering of the democratised subjectivism and positive criticisms. This is the affirmation of a new civilised person with a consciousness organised by his universal approach
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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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Stara, Alexandra. "Lenoir, Quatremère and the hermeneutic significance of the Musée des Monuments français." Thesis, University of Oxford, 2000. http://ora.ox.ac.uk/objects/uuid:ad27bf29-8c6f-4926-949e-2395c9b7099b.
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This thesis proposes an interpretation of the Musée des Monuments français in Paris (1795-1816) in conjunction with Quatremère de Quincy's contemporary writings on the museum in general. The aim of this is twofold: Firstly, to identify and explore the significance of the Musée as an important instance in the history of the modern museum institution; and, secondly, to offer new insight into Quatremère's celebrated critique against the institution in general, and the Musée des Monuments in particular. Through an examination of the Musée's history and its intellectual context, alongside a detailed description of its layout/ its collections and their arrangement, informed by contemporary reports and criticism, as well as the lengthy writings of its creator and curator Alexandre Lenoir, the project's key features are identified and analysed. Subsequently, the main aim of the Musée is seen as a quest for identity and order in history, through the medium of art. Furthermore, the Musée is identified as ultimately transcending its historicist basis, through a poetic engagement with its various fragments - both literal and metaphorical. At the same time, a close reading of Quatremère's texts relating to the museum reveals that, across considerable ambiguity, the concerns which led him to address the institution in the first place also centred around the problem of history and its representation in art. Through an examination of numerous points of rapprochement, the conflict between Quatremère and the Musée des Monuments is revealed as largely circumstantial, while a final difference emerges through this reconciliation, pertaining to the Musée's ultimately poetic character.
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Leenaerts, Danielle. "Analyse historique et artistique du magazine Vu (1928-1940), hebdomadaire d'informations générales illustré par la photographie." Doctoral thesis, Universite Libre de Bruxelles, 2002. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211383.
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Cuvelier, Laurent. "La ville captivée : affichage et économie de l’attention à Paris au XVIIIe siècle." Thesis, Paris, Institut d'études politiques, 2019. http://www.theses.fr/2019IEPP0034.
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Dans un contexte parisien marqué au XVIIIe siècle par d’importantes évolutions de la consommation et des échanges, les affiches commerciales et annonces de particuliers viennent concurrencer les écritures publiques du pouvoir et libelles affichés observables aux siècles précédents. Elles contribuent à structurer une nouvelle forme d’attention urbaine, qui n’est plus uniquement fondée sur le son et l’oralité, mais également sur les sollicitations visuelles et écrites. Cette économie de l’attention entraine des mutations des métiers de l’imprimé (professionnalisation d’afficheurs ou d’entrepreneurs de l’information). Elle renvoie également aux techniques typographiques et aux éléments de mobiliers urbains conçus pour captiver l’attention des citadins et investir certains espaces de la ville. Dans ce contexte, les autorités urbaines mettent au point un maintien de l’ordre mural pour faire face aux sollicitations affichées. Le XVIIIe siècle constitue en ce sens la matrice d’une histoire longue du droit d’affiche en France. Si l’affichage est aujourd’hui associé à la saturation des paysages urbains et à l’aliénation publicitaire, réinscrit dans les rues parisiennes des Lumières et de la Révolution française, il révèle tout le crédit alors associé à l’affiche. Elle est ainsi conçue comme un objet, certes trompeur, mais structurant l’expérience urbaine, un dispositif pédagogique permettant de diffuser auprès du plus grand nombre les règlements et la loi, ou encore un media pour s’impliquer dans l’espace public démocratique qui s’affirme en 1789. Cette étude analyse donc les formes d’engagements des citadins dans la ville et leurs usages de l’espace publicParis in the XVIIIth century was characterized by important evolutions in consumerism and exchanges. In this context, commercial posters and personal ads started to compete with state public writings and libels on display in previous centuries. They were instrumental in creating a new form of urban attention, which was not only based on sounds and spoken langage, but also on visual and written signs. This attention economy caused a change in the printing trade, giving birth to professional bill-stickers or information entrepreneurs. It was also linked to typographic techniques and to street furniture designed to catch the Parisians’ attention and to occupy some city places. In that context, urban authorities took steps to control the walls to challenge the attention-seeking posters. In that respect, the XVIIIth century marks the origin of a long history of poster regulation in France. If today, bill-posting is linked to over-saturated urban landscapes and to alienating advertisements, when considered in the Parisian streets of the Enlightenment and the French Revolution, they reveal how powerful posters were at the time. They were thought of as a device, a deceiving one indeed, but one structuring the urban experience, an educational device allowing to spread information about the rules and the law to as many people as possible, or a medium to get involved in the democratic public sphere which is gaining ground in 1789. This study will analyze the way citizens engage with the city and their use of the public sphere
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Bronfman, Beverly. "Gavarni and the Opéra Masked Ball." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=55817.
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The theme of the parisian Carnival masked balls at the Opéra became synonymous with the nineteenth-century French graphic artist Guillaume Sulpice Chevalier, known as Gavarni (1804-1866). Between 1830 and 1853, he produced more than two hundred lithographs of the subject, which usually appeared in the contemporary popular press. These depictions and their telling captions--snippets of actual conversations--evoke the essential esprit of the occasion. A compelling visual chronicle emerges from Gavarni's imagery of the Opéra masked halls, which uniquely captures the contemporary manners and mores of Parisian society. This dissertation is a close visual analysis of Gavarni's treatment of the phenomenon, which draws upon contemporary literary accounts to substantiate and elucidate the meanings of his prints.Le thème des bals masqués de l'Opéra est intimement lié au peintre et graveur français du XIXe siècle Guillaume Sulpice Chevalier, dit Gavarni (1804-1866). Entre 1830 et 1853, celui-ci a produit plus de deux cents lithographies sur ce sujet, dont la majorité ont été publiées dans la presse populaire de l'époque. Ces scènes et les légendes qui les accompagnent--bribes de conversations réelles-évoquent l'esprit des bals. Chronique visuelle irrésistible, ces gravures dépeignent les moeurs et les manières de la société parisienne de l'époque. La présente thèse propose une analyse visuelle rigoureux du traitement de ce phénomène par Gavarni qui s'appuyer sur des témoignages littéraires contemporains pour élucider le sens de ses gravures. fr
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Wilson, Aubrae N. "The Great Rivalry: The Planning Legacies of London and Paris in the Modern Era." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157578/.
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This thesis seeks to examine the respective histories of London and Paris, two of the most influential and iconic cities in the world, in order to better understand how each respectively developed and their impact upon modern urban planning. Comparisons are made between, not only the history, but also the noble classes and gentry, religions, and cultural values which influenced the development of each capital city. Additionally, this thesis also seeks to explore how the development of Paris can still greatly assist modern developers in the twenty-first century.
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Gimbal, Julie. "L’architecture de grande hauteur à Paris (1893-1973) : débats et hypothèses autour d’une spécificité française." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL152.
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L’architecture de grande hauteur appelle un ensemble de mythologies urbaines et de constructions historiques qui, indéfiniment, valorisent sa charge symbolique ou débattent de sa définition, de son lieu de naissance et de sa place dans le cours de la modernité. Le gratte-ciel, la tour sont des objets de fascination souvent pris dans la trame de grands récits qui, en relevant les manifestations les plus éclatantes, omettent les traces mineures qui sont autant d’écho fondamentaux de l’émission et de la réception de l’architecture, susceptibles de rééquilibrer les discours. Grâce à un large corpus d’œuvres et de sources, ce travail de recherche a l’ambition de comprendre la situation idéologique et urbaine de l’architecture de grande hauteur à Paris, de son émergence dans l’opinion française en 1893 (exposition internationale de Chicago) à sa condamnation au début des années 1970, sous l’action de critères convergents : la circulaire du 21 mars 1973 d’Olivier Guichard (Tours et barres) et l’arrêt des tours proclamé un an plus tard par le président de la République Valéry Giscard d’EstaingHigh-rise architecture raises a whole set of urban mythologies and historical constructions that, indefinitely, value its symbolic dimensions or debate its definition, its place of birth and its place in modern times. The skyscraper, the tower are objects of fascination often taken in the frame of great narratives which, by noting the most striking manifestations, omit the minor traces which are so fundamental echoes of the emission and the reception of architecture, likely to rebalance the speeches. Thanks to a large body of works and sources, this research project aims to understand the ideological and urban situation of high-rise architecture in Paris, its emergence in the French opinion in 1893 (World Fair of Chicago) to its condemnation in the early 1970s, under the action of convergent criteria: Olivier Guichard's Circular of March 21, 1973 (Tours and Barres) and the stop of the towers proclaimed a year later by the president of the Republic Valéry Giscard d'Estaing
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Ballon, Hilary Meg. "Architecture and urbanism in Henri IV's Paris : the Place Royale, Place Dauphine, and Hôpital St. Louis." Thesis, Massachusetts Institute of Technology, 1985. http://hdl.handle.net/1721.1/71371.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 1985.MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH.
Includes bibliographical references (v. 2, leaves 348-379).
This dissertation concerns the extensive building program which Henri IV undertook in Paris from 1600 to 1610. Focusing on the place Royale (now called the place des Vosges) , the place Dauphine, rue Dauphine, and Pont Neuf, and the hôpital St. Louis, this study holds that Henri IV's urbanism was guided by an emerging view of the city as a unified entity. Drawing from newly uncovered notarial documents, the dissertation examines the form and the function of the monuments and argues that each building was embedded in its physical context, engaged in the life of the city, and informed by an underlying urban vision . First, the buildings were not autonomous geometric forms dropped into open spaces; they were conceived as parts of a larger urban composition, structured by axes which linked the monuments to major roads without however diminishing the quality of spatial enclosure which the designs also promoted. Second, the squares and the hospital were each charged with a program anchored in the commercial, social, and sanitary life of the city. The place Royale and place Dauphine were planned as residential and commercial squares to stimulate trade and manufacturing while the hôpital St. Louis was intended to minimize the convulsive effect of the plague on the city. Finally, the dissertation argues that the royal building program was not merely a sequence of unrelated improvements and isolated adornments, but rather a series of coordinated efforts to impose a unifying order on the city. The monuments were assigned functions which addressed the city as a whole . They were physically linked to more distant parts of the city, and they were composed to create grand urban vistas. The urban fabric was no long e r conceived as an accumulation of fragments contained within the walls; it was understood as a cohesive network with its own internal order.
by Hilary Meg Ballon.
Ph.D.
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Pastorello, Thierry. "Sodome à Paris : protohistoire de l'homosexualité masculine fin XVIIIe - milieu XIXe siècle." Phd thesis, Université Paris-Diderot - Paris VII, 2009. http://tel.archives-ouvertes.fr/tel-00392241.
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Au cours d'une période que l'on peut situer entre la dernière partie du XVIIIe et la première moitié du XIXe siècle l'homosexualité masculine en tant que fait spécifique est en cours de construction en prenant en exemple une ville comme Paris. On assiste à un foisonnement de discours et de perceptions autour des pratiques sexuelles et amoureuses entre hommes et le développement d'une subculture sodomite. Au fur et à mesure que le juridique évolue entre des textes qui condamnent la sodomie au bûcher et une pratique qui privilégie la répression policière, l'homosexualité masculine est stigmatisée comme particulière et asociale. Une nouvelle forme de discours médical émerge grâce au concours qu'il doit apporter à l'homme de loi. L'homosexualité est atteinte principalement par la répression des outrages aux mœurs et par l'action répressive de la police. Si des subcultures homosexuelles existent, les discours sur l'homosexualité paraissent avoir peu d'influence sur les pratiques, en prenant comme exemple certains éléments des classes populaires urbaines et des hommes notoires. L'homosexualité reste au terme de cette période en cours de construction. Alors que ce fut un nouveau moment dans la construction de l'homosexualité, des analyses en termes de genre persistaient.
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Richard, Guillaume. "Enseigner le droit public à Paris sous la Troisième République." Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100156/document.
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Le droit public est un élément structurant l’organisation des facultés de droit depuis la fin du XIXe siècle en France. Pourtant, la notion reste bien souvent problématique : l’objet de cette étude est d’en préciser la portée dans l’enseignement, à partir de l’exemple de la Faculté de droit de Paris. Celle-ci, par ses effectifs, sa proximité avec les institutions politiques et la concurrence directe d’autres établissements d’enseignement supérieur joue un rôle de premier plan dans l’élaboration et la mise en œuvre des réformes qui conduisent sous la IIIe République à la généralisation du droit public dans les facultés de droit. Elle permet ainsi de comprendre le processus de spécialisation des professeurs de droit, marqué notamment par le sectionnement de l’agrégation en 1896. Loin de produire des résultats simples, ces évolutions créent une série d’équilibres instables et de tensions. La volonté des publicistes de former un groupe distinct de celui des privatistes se heurte au souhait largement répandu de maintenir l’unité de la science juridique. Le droit public lui-même n’est pas homogène. Ensemble de matières (droit administratif, droit international public, droit constitutionnel, législation financière) plus que savoir cohérent, il est traversé par deux tendances : l’une en fait un savoir formalisé et autonome, capable d’imposer sa logique propre à l’écume des faits, l’autre à l’inverse le rattache aux sciences politiques et économiques. Le succès tardif de la première tendance ne doit pas dissimuler la volonté, dans la première moitié du XXe siècle, de faire du droit public un savoir lié à l’actualité et explicatif du socialPublic law has been instrumental in organizing Law Schools in France since the late 19th century. However, the notion remains problematic: based on the example of the Law School of Paris, the purpose of this study is thus to examine its specific impact on legal teaching. The Parisian School of Law, by far the biggest and closest to political institutions, played a leading role in the reforms which led to a generalization of public law in Law Schools during the Third Republic. Its framework provides a good example of how legal scholars have specialized after the separation, in 1896, of the agrégation recruitment competition into different sections, one of them being for public law and one for private law. Far from being simple, these evolutions remain unstable. Public law scholars both wish to distinguish themselves from the dominating civilists, and to maintain the unity of legal science. Public law itself is not a homogeneous field of knowledge. A collection of disciplines (administrative law, international public law, constitutional law, financial legislation) rather than a coherent science, it is characterized by two trends: the first sees public law as a formalized and autonomous body of knowledge, able to comprehend facts through its distinctive logic; on the contrary, the second trend sees it simply as a part of political and economic sciences. Before the supremacy of the first trend imposed itself – rather late – in the first half of the 20th century, public law was considered a social knowledge, used to explain contemporary political events
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Katz, Lucia. "Sans-abri : l'émergence des asiles de nuits à Paris (1878-1910)." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010712.
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A Paris, à partir de 1878, un maillage de refuges nocturnes se met progressivement en place dans le but de secourir les besoins les plus urgents des personnes sans‐asile. En France, l’oisiveté de l’adulte valide est condamnée depuis le XIVe siècle : en matière de vagabondage et de mendicité, la Troisième République hérite d’un arsenal répressif construit au fil de plusieurs siècles. Bien que la forte suspicion morale qui pèse sur les pauvres aptes à travailler reste forte, les premières conséquences de l’industrialisation et de l’urbanisation sont observées : déracinement, chômage, etc. Dans le contexte de crise politique et économique, certains vagabonds sont aidés. Les asiles de nuit sont encouragés, imités et reconnus d’utilité publique. D’une part, ils sont présentés comme une solution face aux insuffisances de l’État. D’autre part, ils s’inscrivent dans le langage de la réforme sociale et du compromis républicain. Pour comprendre l’engouement et l’institutionnalisation de l’hospitalité nocturne, différents corpus, comprenant une variété de types d’écrits, sériels ou non, ordinaires et extraordinaires, souvent inédits, sont croisés afin de reconstituer les réalités sociales de « l’hospitalité de nuit » dans toutes leurs complexités. Les adaptations pragmatiques, au fur et à mesure du fonctionnement et de la professionnalisation de l’hospitalité institutionnalisée, permettent une réappropriation du modèle proposé par d’autres acteurs très différents, notamment la Ville de Paris. La diffusion permet le transfert de nombreux éléments entre les différents producteurs. Elle s’accompagne néanmoins de réflexions et d’hésitations aboutissant à des accommodations réglementaires. La lente inscription des asiles de nuit dans le panel des solutions proposées pour remédier à la misère est donc à la fois le résultat d’investissements personnels, de contingences économiques et de stratégies professionnelles permettant à l’hospitalité de nuit de se constituer en domaine de l’action sociale. Cependant, l’usage et les résultats sensibles des asiles de nuit laissent place à quelques désillusions et critiques. Ces difficultés dans la mise en œuvre pratique permettent d’expliquer le relatif essoufflement dans ce mouvement de fondation d’asiles de nuit et dans la réorientation, ou du moins la diversification, des institutions productricesSince 1878 in Paris, a network of night‐shelters has been gradually set‐up with the goal to help the most urgent needs of the homeless. In France, a fit adult’s idleness has been condemned since the 14th century : regarding wandering and begging, the Third Republic inherits a repressive system implemented throughout several centuries. Although the strong moral suspicion that weighs on the poor people capable of working remains strong, the first consequences of industrialization and urbanization are becoming visible : de‐location and unemployment, etc. In the context of political and economic crisis, certain homeless are given help. Night shelters are encouraged, reproduced and recognized as beneficial to the general interest. On one hand, they are presented as a solution to the inadequacies of the State. On the other hand, they fit in language of the social reform and the republican compromise. In order to understand the craze and the institutionalization towards night‐hospitality, various corpuses, with a varieties of written documents, serial or not, ordinary, extraordinary and often unpublished, are remixed to reconstitute the social realities of "night hospitality" in their full complexities. With the growing implementation of the professionalization of institutionalized hospitality, pragmatic adaptations allow a re‐designing of the proposed model by other very different actors, in particular the city of Paris. Broadcasting allows the transfer of many elements between the various producers. However, it brings along reflections and questionings leading to statutory accommodations. The slow integration of night shelters within the panel of proposals to remedy poverty is thus at the same time the result of personal investments, economical contingencies and professional strategies allowing night hospitality to be an integrated part of the social welfare. However, the use and the tangible results of night shelters lead to disappointments and criticism. These difficulties in the practical implementation can explain the relative loss of momentum in the creation of night shelters as well as the reorientation, or at least the diversification, of productive institutions
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Hachem, Nancy. "La vie musicale dans les archives du Parlement de Paris au XVIe siècle." Thesis, Sorbonne université, 2020. http://accesdistant.sorbonne-universite.fr/login?url=http://theses.paris-sorbonne.fr/2020SORUL095.pdf.
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Au XVIe siècle, le Parlement de Paris est la plus haute cour de justice de France et est impliqué dans la vie quotidienne des individus de l’époque. Ses archives regorgent de décisions juridiques reflétant la réalité politique, judiciaire, historique, sociale, culturelle et musicale de la Renaissance.Cette recherche poursuit des investigations au sein des sources primaires du Parlement afin d’en extraire des informations qui viennent compléter nos connaissances actuelles sur la vie musicale en France entre 1500 et 1600. Ce travail offre un témoignage de la façon dont est vécue la musique dans la société française du XVIe siècle à travers le regard et sous l’influence du Parlement de ParisIn the 16th century, the Parliament of Paris was the highest court of Justice in France and was involved in the daily life of the individuals of that time. Its archives are full of legal decisions reflecting the political, judicial, historical, social, cultural and musical reality of the Renaissance. This research investigates the Parliament's primary sources in order to extract information that complements our current knowledge of musical life in France between 1500 and 1600. This work offers a testimony of the way music was experienced in 16th-century French society through the Parliament’s vision and influence
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Dégez, Camille. "Une société carcérale : la prison de la Conciergerie (fin XVIe-milieu XVIIe siècles)." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040156.
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La prison de la Conciergerie occupe une place particulière dans le paysage pénitentiaire parisien du XVIIe siècle. Elle accueille de nombreux prisonniers pour dette, les prisonniers jugés en première instance par l’une des juridictions siégeant dans Palais de la Cité, dont elle occupe les bâtiments, mais aussi et surtout les prisonniers en appel devant le parlement de Paris. A partir de l’analyse de parcours individuels de prisonniers et de personnels de la Conciergerie (les dynasties de concierges Regnoust et Dumont), reconstitués grâce aux archives criminelles et notariales, la thèse porte sur les relations sociales et les comportements au sein de la prison. Après une première partie consacrée à un état des lieux de la Conciergerie au début du XVIIe siècle, la deuxième partie met en avant les particularités de sa société carcérale : moins séparée du monde extérieur que les prisons actuelles, elle reproduit à petite échelle la société parisienne. Plutôt que sur une distinction rigoureuse entre hommes et femmes et entre catégories criminelles, son organisation est fondée sur la position sociale et la richesse. Les prisonniers régulent eux-mêmes leurs conflits, le plus souvent sans faire appel au personnel. Quant à l’univers socio-professionnel des gardiens, il ressemble beaucoup à celui des métiers parisiens par les relations à la fois solidaires et hiérarchisées entre le concierge et ses guichetiers et morgeurs. La troisième partie porte sur « l’aventure de l’évasion », révélatrice de l’importance du contexte social et culturel dans la décision, la préparation et l’exécution d’une telle entrepriseThe prison of the Conciergerie occupied a special place in the Paris prison landscape of the seventeenth century. It hosted many prisoners for debt, prisoners tried in first instance by one of the courts sitting in the Palais de Justice, which occupied the buildings, but also and above all the prisoners appealed to the parliament of Paris. From the analysis of individual pathways both of prisoners and staff of the Conciergerie (dynasties of chief jailers Regnoust and Dumont) and reconstituted from criminal and notarial archives, the thesis focuses on social relationships and behavior within the prison. After a first part dedicated to an overview of the Conciergerie in the early seventeenth century, the second part highlights the peculiarities of this prison society: less separated from the outside world that the current prison, it played small-scale Parisian society. Rather than on a rigorous distinction between men and women and between criminal groups, the organization was based on social status and wealth. Prisoners regulated their own conflicts, often without involving staff. As for the socio-professional world of guards, it resembled that of the Parisian business relations, involving both solidarity and hierarchy between the jailers. The third part focuses on "the adventure of escape", revealing the importance of social and cultural context in the decision, preparation and execution of such an undertaking
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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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Vaslin, Julie. "Esthétique propre : la mise en administration des graffitis à Paris : 1977-2017." Thesis, Lyon, 2017. http://www.theses.fr/2017LYSE2096.
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Dans cette thèse, le graffiti désigne, négativement, toute pratique d’inscription murale qui contribue à altérer l’« ordre esthétique » d’une ville, produit par les pouvoirs publics. Cette expression permet de désigner d’un côté l’ordre, c’est-à-dire le pouvoir politique, que l’inscription d’un graffiti sur un mur vient troubler. De l’autre la dimension esthétique de ce pouvoir, c’est-à-dire quelque chose qui dépasse la simple régulation de l’expression politique et s’inscrit, plus largement, dans le gouvernement des espaces publics. Ainsi défini, le graffiti n’est pas seulement analysé comme un message, une déviance, un dommage aux biens, une pratique culturelle ou un art, mais il devient un concept opératoire pour la science politique. Cette définition en termes de « désordre esthétique » permet d’interroger les dispositifs d’action publique qui contribuent à produire l’ordre esthétique propre à la ville. Elle permet aussi de questionner les catégorisations, les problèmes véhiculés par ces dispositifs ainsi que leurs effets sur la construction du sens commun, sur les représentations associées au graffiti, et surtout sur l’aspect physique, matériel, et donc esthétique de la ville.Inscrite dans la perspective d’une socio-histoire de l’action publique, cette thèse retrace l’histoire de la « mise en administration » du graffiti à Paris, la production d’un « ordre esthétique » dans cette ville de 1977 à 2017. À Paris, la municipalité administre ces peintures comme des « souillures » à travers des dispositifs d’effacement portés par les politiques de propreté, mais aussi comme des objets culturels à travers des dispositifs d’encadrement culturel, portés par différents domaines d’action publique (aménagement, culture, tourisme). En retraçant la genèse des dispositifs de répression et de promotion des graffitis au sein de l’administration parisienne, cette thèse propose de comprendre la manière dont s’articulent plusieurs domaines d’action publique et d’analyser la construction municipale d’un problème du graffiti. Dommage aux biens, nuisance visuelle, facteur du sentiment d’insécurité, culture populaire ou art urbain symbole de la vitalité artistique de Paris, le graffiti est un problème public qui, de 1977 à 2017, connaît plusieurs redéfinitions dans lesquelles les acteurs publics municipaux jouent des rôles variables. S’appuyant sur des archives, des entretiens semi-directifs, des observations et des photographies, ce travail s’attache à rendre compte de la variété de ces rôles, des conditions de la redéfinition du problème et ses mises à l’agenda successives. Au cœur de cette socio-histoire de la « mise en administration » du graffiti, une hypothèse : la saisie du graffiti par les acteurs municipaux est révélatrice de l’ambition municipale de monopoliser la définition légitime du « bel » espace public, de l’image de la Ville, au propre comme au figuré. L’enjeu de la thèse est alors de mettre en lumière les conditions historiques, sociales et politiques de la construction de cette légitimité.La démonstration s’organise en deux parties qui retracent chronologiquement la genèse des deux facettes du problème public qui se construit autour du graffiti. Dans la première partie, on montre la manière dont les pouvoirs publics norment l’esthétique des espaces urbains à travers les politiques de propreté qui font du graffiti le résultat d’un acte déviant, une source de désordre. La seconde partie analyse la manière dont différentes actions culturelles promeuvent progressivement certaines formes de graffitis et opèrent ainsi une normalisation de l’esthétique urbaine. Il s’agit finalement de montrer quels comment les acteurs urbains organisent le contrôle de l’esthétique urbaine, quels sont les enjeux sociaux et politiques contenus dans la production d’un certain « ordre esthétique »In this PhD, the “graffiti” refers negatively to every practice of wall/mural inscription, which contributes to degrade the “aesthetic order of a city produced by the public authorities. This expression encompasses both the notion of order, that is the political power which is troubled by any graffiti and the aesthetic dimension of this power, something that overtakes the only public expression regulation and is part of the broader government of public spaces. With such a definition, graffiti refers not only to a message, a deviance, a degradation, a cultural practice or even an art, but it also becomes an operating concept for a political science study. This definition as an « aesthetic disorder » leads us to examine the public policies measures which contribute to produce an aesthetic order proper to the city. This reflection also allows to question categorisations, public problems and their effects on common sense constructions, graffiti representations and on the physical, material, aesthetic aspect of the city.As a socio-historical study on public policies, this PhD traces the history of the graffitis’ “administrativisation” in Paris, the production of an aesthetic order in this city from 1977 to 2017. The local council of Paris regulates those paintings as stains, through cleaning policies, with erasure measures, but it also regulates graffitis as cultural objects, through many cultural measures, carried by different sectors of the administration (urban planning, cultural and touristic policies). Tracing the genesis of those measures in the public local administration, we try to understand how the coherence between several administration areas is built, and we show how the graffiti becomes a public problem in this context. Degradation, visual pollution, source of insecurity, popular culture or urban art: from 1977 to 2017, the public problem of “graffiti” has been built around several definitions by local actors. Based on archives, interviews, observations and photographs, this work attempts to outline the diversity of the public local actors’ roles, the problem redefinition’s conditions and its successive agenda settings. In this socio-history of the graffiti’s “administrativisation”, our hypothesis is the following: the graffiti seizure by local authorities is revealing their ambition to monopolise a legitim definition of “the beautiful” public space, a legitim city image. The aim of this PhD is then to identify this legitimacy construction, its historical, social and political conditions of appearance. The demonstration is built on two parts, tracing chronologically the history of two aspects of the graffiti public problem. First, we clarify how local public authorities try to standardize (to norm) the aesthetic of public spaces through cleaning policies that tag the graffiti as a deviance, a source of disorder. Secondly, this analyse will focus on how different public cultural measures progressively promote some forms of graffitis and lead to a normalisation of the urban aesthetic. Finally, we show how urban actors organise the control of urban aesthetic, and which are the social and political issues hold into the production of a certain aesthetic order
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McNamara, Sara. "Posters, Politics and immigration during the May 1968 Protests in France." ScholarWorks@UNO, 2010. http://scholarworks.uno.edu/td/110.
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How were immigrants, immigrant issues and their histories represented through radical poster art created during the 1968 protests and strikes in France? The May 1968 protests remain one of the most significant moments in contemporary French history and it occurred during a time when immigrant populations were rapidly increasing. There is a multitude of research, analysis and reflections on the protests and strikes; yet there is very little mention of the place of immigrants during this event. Art collectives that were created during the protests designed and produced posters that later became a symbol of the strike. By using a variety of primary and secondary sources including small press publications, interviews, manifestos, historical and artistic secondary soured this work argues that it is during this social movement that immigrants and immigrant issues entered French social discourse and this can be seen by exploring the messages presented in the posters.
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Jones, Emily M. "The Political Nature of the Paris Commune of 1871 and Manifestations of Marxist Ideology in the Official Publications of the Central Committee." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5417.
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Historians originally claimed that the 1871 Paris Commune was inspired by Karl Marx. Since the 1960s, however, this assertion has been rejected by scholars who either claim that Marx had no influence over the Paris Communards or do not address the possibility that this influence existed. Many scholars have also claimed that the Commune was not political in any way, but was a rebellion inspired by patriotism, bitterness for the Versailles government’s capitulation of Paris to Prussia, or a spontaneous reaction to hostility from the national army’s attempt to disarm the indignant, rapidly organizing Parisian workers who called for municipal authority under their own socialist government. This thesis analyzes the official publications of the governing body of the Paris Commune and argues that these sources demonstrate that this movement was political in nature, and that Marxist ideology helped to shape the political minds of the revolutionary working class in Paris.
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McKnight, Amy Jane. "Migrant identities in revolutionary Paris : Savoyard stereotypes and experiences of a changing environment." Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/2576/.
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David Garrioch estimates that in 1789 two thirds of the Parisian population came from other parts of France, yet historians have shown comparatively little interest in how these migrants interacted with the wider Parisian population and the Parisian authorities during the revolutionary period. Migrants were drawn to Paris in search of work opportunities that were unavailable in their own province, or to support their families during the hiatus in the agricultural season or during periods of economic crisis. Using a wide range of source material this thesis explores the experiences of migrants from a variety of French provinces and from Savoy, exploring the different types of migration and the ‘push and pull’ factors behind a move to Paris. It will examine the ‘failed migration experience’ and the challenges faced by migrants on their journey to Paris and in the first few weeks and months of settling in and finding work and accommodation in Paris. Factors behind a successful migrant experience will also be considered, highlighting the importance of the migrant network in Paris and in the provinces in helping the newly arrived migrant become established through the provision of work and accommodation. The thesis will show how provincial and foreign migrants were portrayed in cultural source material from the late Seventeenth to the Nineteenth century. An investigation into contemporary accounts of the personality, physical appearance, family life and work habits of migrants will illustrate how common stereotypes like the ‘petit ramoneur Savoyard’, the ‘Paysan Perverti(e)’ and the ‘vagrant’ were constructed, making migrants stand out from the wider Parisian population. The case study of Fanchon la Vielleuse shows the interaction between cultural and historical representations of migrants and how these could become embedded in the popular mindset. These stereotypes will be a continuing theme throughout the thesis and will provide a context in which it is possible to understand the attitudes of the wider population and the authorities towards migrants. In using police and judicial records from the pre-revolution and revolutionary periods it is possible to compare and contrast such stereotypes with the genuine migrant experience. The thesis will explore the attitudes of the Parisian authorities towards these migrants in the discourses on crime and public safety, charity and poor relief, and the debate on nation, citizenship and identity, tracing both changes and continuities in their approach from the Ancien Regime to the Revolution. It aims to uncover how the Revolution impacted on migration traditions and how migrants responded to this monumental series of events, including an analysis of migrant agendas and their understanding of and response to the Revolution and the changing judicial process. This provokes an examination of the relevance of the Revolution to the ordinary migrant in Paris. Was this a step towards the realisation of a French Nation at the expense of multiple regional identities, or did migrants remain unconvinced by this collective identity?
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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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Levin, Suzanne Michelle. "Shades of Cato and Brutus: Classical References in the Révolutions de Paris and the Rise of Republicanism, June-October 1791." Oberlin College Honors Theses / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1338322217.
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Gaumy, Tiphaine. "Le chapeau à Paris. Couvre-chefs, économie et société, des guerres de Religion au Grand Siècle (1550-1660)." Thesis, Paris, Ecole nationale des chartes, 2015. http://www.theses.fr/2015ENCP0001/document.
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Dans la première moitié de l’époque moderne, période de troubles politiques et religieux ainsi que de découvertes géographiques ouvrant de nouveaux débouchés commerciaux, la question du chapeau et des autres couvre-chefs est abordée sur les plans technique, commerciaux, à la fois dans la capitale, à la Cour, dans le royaume et à l’étranger, esthétiques avec l’évolution des formes et des décors (broderies, panaches, enseignes) mais aussi sociaux (manières et fonctions de leur port). Ce commerce, transformé par le castor et l’obligation sociale du port d’un couvre-chef, dans le contexte particulier du Paris de l’époque, a un impact fort sur l’évolution des fortunes des chapeliers de la ville et sur les garde-robes des Parisiens et des gens de la Cour. Sans vestige archéologique, les informations, éparses, se trouvent par exemple chez les moralisateurs et les auteurs de l’époque, chez des graveurs français tel qu’Abraham Bosse, chez des peintres flamands comme Jan Miense Molenaer, ou dans les archives judiciaires, comme possibles motifs demeurtres. Loin de n’être qu’un accessoire vestimentaire, le couvre-chef à l’époque moderne est un élément essentiel dans la définition de l’humanité d’un individu et de sa sociabilité : c’est par lui qu’il indique son appartenance nationale, son âge, sa fortune, son métier, son rang social ou sa maîtrise des codes de civilité, notamment par rapport à l’institution médiévale du salut. Cette importance du couvre-chef est remise en cause sur les plans politique et religieux par les Protestants mais aussi par la découverte de nouvelles sociétés dont le rapport au vêtement relativise l’approche européenne traditionnelleIn the first half of the early modern period, time of political and religious troubles, and of great geographical discoveries that opened new trade opportunities, we approached the subject of hat and headdresses history in their technical, commercial (in the capital, the Court, the kingdom and abroad), esthetical (evolutions of forms, embroideries, feathers, hat badges) and social ways (manners and signification of wearing them). In the peculiar Parisian context of this period, this trade, changed by the apparition of beaver and the social obligation to have everybody’s head covered, has a deep impact not only on the evolution of the Parisian hatters’ wealth but also on Parisians’ and Courtiers’ wardrobes themselves. Without headdresses preserved, details about them are scattered in documentary sources: for example, we can find them in the writings of authors and moralizing people, in engravings of French people like Abraham Bosse, in works of Flemish painters like Jan Miense Molenaer, but also in criminal archives where they can be sometimes even motives of murder! Far from just being clothing accessories, headdresses in the early modern period are essential to socialize and characterize human beings: through them, we can grasp national identity, age, wealth, profession, social status and knowledge of civility rules (especially to raisesomebody’s cap to someone, a tradition established from medieval times). Also, at that time, their importance is reconsidered because of the challenge by the Protestants about their social significance and by the discovery of new societies with other relation to clothes, which put the traditional and European approach into perspective
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Almeida, Jane Barros 1979. "Educação e luta de classes : a experiência da educação na Comuna de Paris (1871)." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281162.
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Orientador: Jesus José RanieriTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: Esta tese realizou uma análise, a partir da relação entre educação e luta de classes, tendo como objeto de estudos a experiência da Educação na Comuna de Paris de 1871. Esta curta experiência foi capaz de revelar a contribuição da educação no processo de construção de uma consciência de classe dos trabalhadores, mediante os debates e disputas políticas em prol de melhores condições de vida e direitos, travados no período anterior à Comuna, a antessala, quando a educação assumiu papel central ao canalizar os elementos de descontentamento e denúncia do projeto aplicado pelo Império de Napoleão III, ao mesmo tempo em que revelou elementos de um novo projeto de sociedade. A experiência da educação na Comuna de Paris foi capaz de apontar rupturas com o projeto de educação republicano, no sentido de indicar elementos para uma educação verdadeiramente democrática, emancipadora, omnilateral, laica, integral, crítica e reflexiva, para ambos os sexos. Assim como resignificou a ideia de público através da educação, desvinculando-o da lógica atribuída pelo particularismo burguês. A educação pública e popular criticou o papel do Estado, delegando aos trabalhadores organizados a tarefa de direção e formulação do novo projeto educacional. Avanços capazes de revelar a importância da educação no interior da luta dos trabalhadores, na construção de um novo projeto societal
Abstract: This thesis conducted an analysis, starting from the relationship between education and class struggle, using as the object of study the experience of education at Paris Commune in 1871. This short experience was able to reveal the contribution of education in building a class consciousness of workers through the debates and political disputes in favor of better living conditions and rights, conducted in the period that preceded the Commune, the precursor, when education assumed a central role, channeling the elements of discontent and denunciation of the project implemented by the Empire of Napoleon III, at the same time that it revealed elements of a new project of society. The experience of education at Paris Commune was able to indicate breaks with the republican educational project, in order to suggest elements for a truly democratic, emancipator, comprehensive, secular, critical and reflective education, for both sexes. It also redefined the idea of public, through education, separating it from the logic given by bourgeois particularism. The public and popular education criticized the role of the state, delegating to the organized workers the task of leadership and formulation of the new educational project. Advances able to reveal the importance of education within the struggle of workers in the construction of a new societal project
Doutorado
Sociologia
Doutor em Sociologia
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Claveau, Cylvie. "L'autre dans les Cahiers des droits de l'homme, 1920-1940 : une sélection universaliste de l'altérité à la Ligue des droits de l'homme et du Citoyen en France." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37604.
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This doctoral dissertation examines the position of the Other with regard to the Ligue des Droits de l'Homme et du Citoyen (LDH) in France during the interwar period of the twentieth century. A key institution of French political and intellectual life, the Ligue des Droits de l'Homme et du Citoyen exemplified the confrontation and contradiction between theory, discourse, and reality. The dissertation is divided into two parts: the first part introduces Them, the members of the Ligue; while the second part describes (or identifies) the Other, the colonized migrants, the foreigners, the political and ethnic refugees of the interwar period. This research demonstrates that, although in theory these groups were considered equal in the name of universalism, in practice the discourse of the Ligue discriminated against them. The evidence shows that the members of the Ligue des Droits de l'Homme et du Citoyen despised all foreigners, and established the level of discrimination according to a hierarchy of contempt.
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Duvette, Charlotte. "Les transformations de Paris étudiées à travers l'évolution de la maison urbaine de 1780 à 1810 : projets, publications et réalité bâtie." Thesis, Paris 1, 2022. http://www.theses.fr/2022PA01H001.
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L’objectif de cette thèse est de repenser la relation entre l’évolution du tissu urbain parisien et une forme d’architecture domestique mal connue : la maison urbaine. Il ne s’agit pas de revenir sur la genèse de cet habitat, mais de questionner sont état à un moment précis : 1780-1810. Cette étude contribue à faire connaître des praticiens oubliés, à faire émerger les pratiques constructives les plus répandues, ou encore à démêler le lien entre l’image des maisons publiées et leur réalité bâtie. Les lotissements engagés à la fin de l’Ancien Régime sont davantage considérés pour leur remplissage à travers le procédé du sous-lotissement et les petites transactions qui s’en suivirent. Les architectes déjà célèbres en leur temps sont étudiés au regard du pendant le moins visible de leur production. Celle de leurs confrères est observée sur un pied d’égalité, en partant du principe qu’un Michel Duval ou qu’un Guireaud de Talairac produisait des ensembles aussi intéressants que la triade Bélanger, Brongniart et Ledoux. Les caractéristiques de ces maisons urbaines protéiformes émergent de l’analyse du corpus réuni – à l’image des terrasses aménagées en jardin – et illustrent les capacités d’adaptations des maîtres d’œuvre. La prolifération d’images et de commentaires dont elles sont l’objet permettent de saisir la place qu’occupaient ces demeures non plus dans la ville, mais dans l’espace public. Ce travail favorise la réévaluation de cas d’études tantôt inconnus, tantôt lacunaires, à l’aune d’une mise en contexte nouvelleThis thesis rethinks the relationship between the Parisian urban fabric and a lesser known form of architecture – the urban housing - that evolved between 1780 and 1810. This work sheds new light on forgotten practitioners, distinguishes the most widespread building practices and untangles the ties between the published images of houses and the realized buildings. The study observes the filling and densifying of the district divisions (lotissement) through subdivision (souslotissement) and their respective small real-estate transactions, that started at the end of the Ancien Régime. Renowned architects of those times were studied through the less visible part of their production, and their not so well known colleagues were treated as their equals, assuming that Michel Duval or Guireaud de Talairac produced buildings as appealing as the triad of Bélanger, Brongniart and Ledoux. The corpus study highlights the characteristics of these protean urban houses – such as terraces laid out as gardens and illustrate the adaptability of the architects. The abundance of pictures and commentaries on these buildings allows us to grasp the importance of these residences not only in the city but in the public space. This work fosters the re-evaluation of the unknown, understudied urban spaces, viewing them in a new perspective
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Aragonès, Riu Núria. "Iconographie des Petits Théâtres en France au XVIIIe siècle." Paris 3, 2008. http://www.theses.fr/2008PA030028.
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À l’opposé de l’histoire des arts picturaux qui part de l’existence matérielle de son objet d’étude, l’histoire des arts du spectacle – dont l’objet est une œuvre d’art éphémère par définition – s’élabore par le rassemblement de sources documentaires (textes et images) à partir desquelles l’historien étudie l’objet absent. L’iconographie théâtrale s’inscrit dans un domaine d’études nécessairement interdisciplinaire où la méthodologie de l’histoire du théâtre s’associe à celle de l’histoire des arts picturaux. Notre hypothèse de départ soutient que l’analyse formelle et stylistique de l’image peut fournir bien des interprétations plausibles pour l’histoire du théâtre. Par ailleurs, le rapprochement de l’image de théâtre et le contexte socioculturel de l’époque (les questions de production, fonction et destination de l’image) permettra de revisiter l’interprétation d’images connues et de proposer une interprétation pour les images inédites que cette étude met à la lumière. L’échantillon d’analyse est constitué d’images ayant pour sujet les « petits » spectacles français – et notamment parisiens – du XVIIIe siècle, à savoir les théâtres des foires, du boulevard du Temple, du Palais-Royal et les spectacles de rue (marionnettes, charlatans, vendeurs de chansons, montreurs de curiosités) qui composent la scène non officielle du XVIIIe siècle. Par le biais de l’analyse iconographique, nous découvrirons une image pluri-forme et pluri-fonctionnelle, dynamique et transformable, qui appelle à l’actualité théâtrale en utilisant bien souvent des modèles figuratifs traditionnels. Les champs d’étude qu’ouvre l’iconographie théâtrale sont multiples et variés et ne font que confirmer la nécessité des études transdisciplinaires pour mieux cerner l’histoire du théâtreDiffering from the history of painting which is based on the physical existence of the studied object, theatre art history – where the object of study is by definition an ephemeral piece of art – is elaborated by the assembly of documental sources (images and texts) that the theatre historian uses to analyse the missing object. Theatre iconography has to be studied through an interdisciplinary approach in which the methodology of theatre historians is combined with that of painting historians. Our departing hypothesis is that the analysis of form and style of the image can provide many plausible interpretations for theatre history. In addition, the consideration of the social and cultural context of the epoch (issues on the production, function and destination of the image) will allow the reinterpretation of known images as well as an interpretation for previously unknown images. The analysed sample is made of images having as subject “petits spectacles” in eighteenth-century France (mainly in Paris), that is to say fair theatres, theatres of the boulevard du Temple, Palais-Royal spectacles and other kind of street theatre (puppets, charlatans, singers, etc. ) that composed the non-official theatre life of the eighteenth-century. Through the iconographic analysis we will find a dynamic and transformable image, with multiple forms and functions, that covers current theatre events by using in some occasions traditional pictorial records. The interdisciplinary approach of theatre iconography opens new multiple fields of study that will advance our knowledge on the theatre of the past
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Dhoiffir, Loutfi. "Une histoire comptable et financière de la ligne ferroviaire dite de la « petite ceinture » Paris (1853-2014) : Approche par les théories de la décision." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015PA131003/document.
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La ligne de Petite Ceinture de Paris est un ancien chemin de fer à double voie de 32 kilomètres de longueur (hors raccordements) qui faisait le tour de Paris à l’intérieur des boulevards des Maréchaux. Ouverte par tronçons de 1852 à 1869, elle est d’abord exclusivement consacrée au trafic de marchandises avant d’être ouverte au trafic de voyageurs, à l’exception de la ligne d’Auteuil, à l’inverse directement ouverte aux voyageurs en 1854 et seulement en 1867 pour les marchandises. Désertée par les Parisiens en raison de la concurrence croissante du métropolitain à partir de 1900, la ligne est, pour l’essentiel de son parcours, fermée au trafic de voyageurs le dimanche 22 juillet 1934, hormis la ligne d’Auteuil, restée ouverte jusqu’en 1985. Le trafic de marchandises a également disparu depuis le début des années 1990, et la ligne est aujourd’hui en grande partie abandonnée et amputée d’une partie de sa longueur. Une portion de la ligne d’Auteuil a toutefois été intégrée en 1988 à la ligne C du RER. De nombreuses gares ont été détruites dont Montsouris. La gare de Passy a été conservée en étant transformée en restaurant. Des gares ont été converties comme la gare de Charonne. Restée à l’abandon depuis 1993, la Petite Ceinture a fait l’objet d’une première phase de concertation en 2013 afin d’en esquisser l’avenir. Notre travail de recherche s’inscrit au coeur de ce débat du devenir de la Petite Ceinture de Paris. Il vise à démontrer l’importance de cette emprise ferroviaire depuis sa création en 1852 jusqu’à sa fermeture en 1934 pour le service de voyageurs. Nous proposons une analyse comparative de la situation de la gestion comptable et financière depuis 1854 à 1934 pour déterminer les différents résultats d’exploitation réalisés afin d’évaluer la performance financière de la ligne. Notre démarche consiste à comprendre pourquoi des hommes intelligents, en possession de tous leurs moyens, ont-ils pu prendre la décision d’interrompre volontairement l’activité de la ligne Petite Ceinture. Quels sont les conséquences de la mise en jachère de très long terme de cette plate-forme ferroviaire ? Quels sont les manques à gagner de cette mise en sommeil ? Peu de recherches se sont basées sur cette démarche, et notre travail de recherche était d’étudier les différentes approches de la décision fondées sur les théories de la décision rationnelle de Simon, de Cyert et de March et sur les théories de la décision absurde de Christian Morel. Après confrontation de ces différentes approches, nous avons tiré comme résultat pour échapper à la non décision, l’application de la théorie de la métarègle de la fiabilitéThe Line Little Belt is a former Paris railway line double track 32 kilometers in length (excluding connections) who went around Paris within the boulevards of the Marshals. Opened by sections 1852 to 1869, it is first devoted exclusively to freight traffic before being opened for passenger traffic, with the exception of the Auteuil line, unlike directly open to travelers in 1854 and only in 1867 for goods. Deserted by Parisians because of growing competition from the Metropolitan in 1900, the line is, for most of his career, closed to passenger traffic Sunday, July 22, 1934, except the Auteuil line remained open until in 1985. Freight traffic has disappeared since the early 1990s, and the line is now largely abandoned and missing a portion of its length. A portion of the Auteuil line, however, was built in 1988 to the RER C line. Many stations were destroyed including Montsouris. Passy Station has been preserved by being converted into a restaurant. Stations were converted as station Charonne. Remained abandoned since 1993, the Little Belt has been the subject of a first phase of consultation in 2013 in order to sketch the future. Our research is at the heart of the debate about the future of the Little Belt Paris. It aims to demonstrate the importance of the railway line since its inception in 1852 until it closed in 1934 for passenger service. We provide a comparative analysis of the situation of the accounting and financial management from 1854 to 1934 to determine the different results of operations conducted to evaluate the financial performance of the line. Our approach is to understand why intelligent men, in possession of all their resources, they have taken the decision to voluntarily stop the activity of theLittle Belt line. What are the consequences of setting aside of the very long term of this railway platform? What are theshortfalls of this Sleep? Little research has been based on this approach, and our research was to study the differentapproaches to the decision based on the theories of rational decision of Simon of Cyert and March and the absurd theories of decision Christian More l . After comparison of these different approaches, we have learned as a result to escape the non-decision, applying the theory of meta-rule of the reliability
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Hosseinabadi, Shahram. "Une histoire architecturale de cinémas : genèse et métamorphoses de l'architecture cinématographique à Paris." Thesis, Strasbourg, 2012. http://www.theses.fr/2012STRAG021/document.
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Cette thèse étudie la naissance et l’évolution de cinéma comme type architectural en examinant deux-cent projets soumis, entre 1907 et 1939, à l’administration parisienne pour le permis de construire. Ceux-ci sont analysés selon quatre critères : l’implantation, les protagonistes, la conception architecturale et la réception des œuvres. Le parc cinématographique parisien, à la veille de la Seconde Guerre, est le résultat de trois vagues de constructions à la suite des événements marquants : la naissance du cinéma narratif (1907-1913), l’Armistice (1919-1920), l’avènement du parlant (1931-1938). Ces trois vagues riment avec trois phases successives dans la genèse du nouveau type : l’expérimentation, la théorisation et la modernisation. Ainsi est mise en évidence la constitution, dès 1907, d’un type originel architecturalement caractérisé par la triade projection-visibilité-publicité. Il en dérive, par la suite, différentes espèces qui, malgré leurs variations, restent « un hangar noir » plus ou moins judicieusement disposés et décorés pour un spectacle projeté sur écran, hangar doublé extérieurement d’une façade parlante et peu ou prou attrayanteThis thesis explores the emergence and the evolution of the cinema as a building type. It examines two hundred projects submitted to the Parisian administration for obtaining construction permits, from 1907 to 1939. These projects are analyzed according to four major criteria: localization, protagonists, architectural design and their reception. At the beginning of the Second World War, Parisian cinemas were mostly built through three waves of constructions subsequent to historical events: emergence of narrative cinema (1907-1913), end of the First World War (1919-1920), arrival of talkies (1931-1938). These three waves correspond with three successive phases in the rise of the new building type: experimentation, theorization, modernization. This study demonstrates that an original building type has been created since 1907, which is architecturally characterized by the trio of projection- visibility-appeal. From this original type different pieces are derived, that despite their variations are all a blind shed less or more judiciously designed and decorated for a show projected on the screen, a blind box covered by an attractive and expressive façade
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Heizer, Alda Lucia. "Observar o ceu e medir a terra : instrumentos cientificos e a participação do Imperio do Brasil na Exposição de Paris de 1889." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/287043.
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Orientador : Maria Margaret LopesTese (doutorado) - Universidade Estadual de Campinas, Instituto de Geociencias
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Resumo: A presente pesquisa tem por finalidade contribuir para a História das Grandes Exposições da segunda metade do século XIX, sublinhando a participação do Império do Brasil nesses grandes eventos, em particular na Exposição Universal de Paris de 1889. Consideramos possível, ao analisar os catálogos de instrumentos científicos, relatórios, memórias, revistas científicas, entre outras fontes, identificar pistas que nos revelam que o Império do Brasil pretendia desfazer a imagem de flor exótica nos trópicos. A partir da constatação de que os trabalhos acadêmicos realizados no Brasil sobre estes grandes eventos, dos anos de 1980 para cá, não se ocuparam da participação dos países da América Latina, este trabalho pretende se desenvolver na confluência de linhas de pesquisa que, embora plenamente articuláveis, permanecem, até hoje, em grande parte dissociadas na produção historiográfica nacional. Trata-se de pesquisas em História das Exposições Universais e a História dos Instrumentos Científicos
Abstract: This present research has the purpose to contribute for the history of the Great Expositions of the second half of the XIX century, underlining the participation of the Brazilian Empire on these events, in particular in the Paris Universal Exposition in 1889. We found it possible, when analyzing the scientific instrument¿s catalogues, reports, memories, scientific magazines, among other sources, to identify tracks that reveal to us that the Brazilian Empire intended to appear under the image of the ¿Exotic flower of the tropics¿. After discover that the academic works that were made in Brazil about these great events, from 1980 until today, disregard the participation of the Latin American countries, this work intend to be developed in the confluence of the lines of research , although they can be articulated, remains until today dissociated in the national history production. It¿s about research on the history of the Great Universal Expositions and the History of Scientific Instruments
Doutorado
Doutor em Ensino e História de Ciências da Terra
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Pitor, Adrien. "L’espace du Palais. Étude d’un enclos judiciaire parisien de 1670 à 1790." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL089.
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Cette recherche est consacrée au Palais de Paris des années 1670 à 1790. Situé sur l’île de la Cité, le Palais est une ancienne résidence royale qui abrite un ensemble de bâtiments et de cours aux fonctions variées. Il se présente à la fois comme le quartier canonial de la Sainte Chapelle et comme un pôle artisanal et commercial tourné vers le demi-luxe. Il accueille également une collection de tribunaux dont certains de première importance, à commencer par le Parlement et la Chambre des Comptes. L’enjeu de notre thèse est de comprendre comment ces différentes fonctions coexistent, s’opposent ou coopèrent dans l’enclos juridique correspondant au ressort territorial du bailliage du Palais et comment ce territoire est investi par ses habitants et par l’ensemble des Parisiens. Notre approche, essentiellement spatiale, se fonde sur un corpus de plans, coupes et élévations qui a permis de procéder à des restitutions graphiques et cartographiques et d’apprécier les transformations architecturales tout au long du XVIIIe siècle. Elle s’appuie également sur le fonds du bailliage du Palais et celui du procureur général du Parlement. Nous envisageons la structuration interne des logements, des boutiques et des tribunaux (salles d’audience, salles du conseil, parquet, greffes, buvettes) ainsi que les points de contact entre les différentes juridictions (Grande Salle, Conciergerie). Il s’agit également d’insérer le Palais dans son contexte urbain en analysant la composition sociale et les pratiques propres à ce territoire. L’usage public du lieu implique des formes d’encadrement spécifiques et conduit au développement d’une culture singulièreThis research is dedicated to the Palais de Paris from the 1670s to the 1790s. Located on the Ile de la Cité, the Palais is a former royal residence which houses a set of buildings and yards with a variety of functions. It comes across as both the canonical quarter of the Sainte Chapelle and as a hand-made and half-luxury commercial point. It also hosts a collection of courts, some of prime importance, starting with the Parlement and the Chambre des Comptes. Understanding how these different functions coexist, oppose or cooperate is at the centre of our research. We will analyse those various relationships in the legal enclosure corresponding to the territorial jurisdiction of the bailliage du Palais and see how this territory is taken up by its inhabitants and by all Parisians. Our approach, essentially spatial, is based on a corpus of plans, sections and elevations that allowed to carry out graphic and cartographic renditions and to assess architectural transformations throughout the eighteenth century. It also relies upon the funds of the bailliage du Palais and of the Attorney General of Parlement. We are considering the internal structure of accommodation, shops and courts (courtrooms, boardrooms, prosecutor's office, tribunal registry, refreshment bars) as well as the points of contact between the various jurisdictions (Grande Salle, Conciergerie). It is also about placing the Palais in its urban context through the analysis of its social composition and the practices specific to this territory. The public use of the Palais implies specific forms of supervision and leads to the development of a particular culture
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Bouttier, Ronan. "Les bains privés dans l’architecture civile française (1515-1774)." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040050.
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Sujet aux contours mouvants, largement arpenté par les historiens, la question des espaces dédiés au bain attendait de rentrer pleinement dans le champ de l’histoire de l’architecture. Depuis quatre décennies elle se concentre sur l’étude des distributions et des manières d’habiter les grandes demeures de l’époque moderne. Une étude sur le temps long était nécessaire pour saisir les changements subtils des formes et des usages des pièces de bains. L’enquête est circonscrite par deux moments charnières pour l’histoire de l’architecture française : d’une part, l’avènement de François Ier en 1515 qui inaugura une politique artistique ambitieuse, en particulier dans les résidences royales ; d’autre part, la fin du règne de Louis XV en 1774, marquée en outre par le décès de Jacques-François Blondel, protecteur d’un classicisme architectural hérité du Grand Siècle. L’étude est fondée sur un corpus de notices monographiques embrassant le large spectre de l’habitat, du palais à la maison. Les sources de l’histoire de l’architecture, l’analyse du bâti des bains subsistants ont permis de définir des typologies d’espaces et des manières d’habiter. Afin de rendre plus sensible l’usage des lieux, le questionnement a été élargi à l’histoire de la médecine et des mentalitésThe theme of spaces dedicated to bath is a hardly defined subject, well studied by historians, but which had to be broached through the history of architecture. This field of study has focused for decades to analyse the layout and the ways of inhabiting in the great residences of modern times. A study on an extended period of time was necessary to understand the subtle changes of forms and uses of bath rooms. This study is defined by two turning points in the history of French architecture: on one hand the accession of François Ier in 1515, whom inaugurated an ambitious artistic politics, in particular for royal residences; one the other hand the end of the reign of Louis XV in 1774, furthermore the year of the death of Jacques-François Blondel who was a defender of an architectural classicism inspired by the Grand Siècle. This study is based on a catalogue of monographic notes incorporating the wide-ranging aspect of the housing, from palaces to houses. The sources of the history of architecture and the study of the construction of remaining baths made possible a definition of spaces typologies and ways of inhabiting. In order to make clearer the use of spaces, the study was enlarged to the history of medicine and mentalities
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Guével, Solenn. "Histoire des relations entre Paris et ses canaux : formes, usages et représentations, 1818-1876." Thesis, Paris Est, 2017. http://www.theses.fr/2017PESC1006.
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La recherche propose d’interroger ce qui lie et qui a pu un jour lier Paris à ses canaux, afin d’alimenter et d’élargir les réflexions actuelles sur les problématiques urbaines et sur la définition des modes et temps de constitution de la ville, soit de comprendre les liens entre ville et infrastructure.À travers l’étude de la forme du paysage et du tissu rural et urbain, des projets, des acteurs privés et publics, des activités et des usages et, enfin, des représentations, le rôle et la place tenus par les canaux parisiens, destinés au transport de marchandises et à l’adduction d’eau, sont appréhendés, permettant ainsi de saisir, dans le temps, la complexité des processus de constitution et d’évolution de l’espace urbain à Paris, révélant, à l’échelle locale et à l’échelle territoriale, au gré des questions posées, les relations entre ville et canal au XIXème siècle.Dans un premier temps, pourquoi la capitale a-t-elle besoin de canaux ? Quelles sont les conditions de leurs implantations ? Quelles sont les spécificités de cette infrastructure ? Quel est son tracé ? Comment les canaux se sont-ils surimposés aux territoires ? Quels paysages ont-ils fabriqués ? Sont-ils un embellissement et un monument pour le territoire et/ou une coupure dans les tissus existants ? Par rapport à ces questions, nous essayons de comprendre comment les canaux parisiens se sont inscrits dans le territoire.Dans un second temps, pourquoi des entrepôts sont-ils construits le long des voies d’eau ? De quels types sont-ils ? Y-a-t-il une distinction entre ceux établis à Paris et ceux réalisés à La Villette ? Quelles transformations engendrent-ils ? Quelle place tiennent-ils dans le développement industriel et commercial de la capitale ? De plus, comment le territoire s’urbanise-t-il aux abords des infrastructures ? Par rapport à ces questions, nous tentons de montrer comment la ville s’est adaptée aux canaux parisiens.Dans un troisième temps, pourquoi est-il décidé de couvrir une partie du canal Saint-Martin sous le Second Empire ? Quels sont les impacts de cette couverture sur le transport de marchandises et l’activité industrielle bordant la voie d’eau ? Comment les trames viaire et parcellaire évoluent-elles ? Des projets, liés au service de l’infrastructure et/ou de la ville, apparaissent-ils ? Alors qu’une partie du canal Saint-Martin est recouvert et que la commune de La Villette est rattachée à la capitale, pourquoi des travaux de modernisation des canaux de l’Ourcq et Saint-Denis sont-ils entrepris ? Quels aménagements sont réalisés ? Comment le territoire traversé par l’infrastructure évolue-t-il ? Par rapport à ces questions, nous essayons de mesurer comment les canaux parisiens se sont intégrés à la ville.Nous tentons donc de comprendre comment les canaux parisiens, grands ouvrages à vocation industrielle, se sont inscrits dans le territoire ; comment la ville s’est adaptée à cette infrastructure et comment cette dernière s’est intégrée à Paris. Nous essayons de montrer que de leur création à la fin du XIXème siècle (1818-1876), qu’ils servent au transport de marchandises ou à l’adduction d’eau, qu’ils soient à l’air libre ou recouverts, les canaux ont exercé une influence forte sur la formation de la ville qu’ils traversent ; ils peuvent ainsi être considérés comme des éléments fondateurs de l’espace urbain à leurs abords.Visant à construire un objet historique, en analysant la pluralité des relations entre Paris et ses canaux au cours du XIXème siècle, la thèse souhaite mener une enquête à partir de questionnements divers qui empruntent à plusieurs disciplines, s’attachant aux questions des formes, des usages et des représentations. Outil de réflexion visant à une meilleure compréhension des liens entre ville et infrastructure, elle souhaite apporter des pistes de réflexions face aux interrogations actuelles sur les possibilités de tirer profit de leur présence et sur la manière dont peuvent ou pourraient se reconstituer leurs abordsThis research proposes to investigate the comprehensive set of past and present relations between Paris and its canals, in order to fuel and expand the current reflection on urban issues and the definition of the specific modes and temporalities at stake in the formation of the city, allowing one to understand the links between city and infrastructure.Through the study of a broad scope of themes, from landscape to the form of urban or rural fabric; to projects, private and public actors, acjavascript:nouvelleZone('abstract');_ajtAbstract('abstract');tivities and uses; to their representation; this study seeks to understand the role played by the canals and their place in Paris, as a means for both the transportation of merchandise and the supply of water, in order to grasp the complexity of the evolution and processes of formation of Parisian urban spaces over time, thus revealing at both local and territorial scale the relations between city and canal during the XIXth century.Firstly, we will focus on the need for canals in Paris, capital of France. What are the conditions governing their position? What is specific about this infrastructure and its layout? How are the waterways superimposed upon the urban territory, and what landscape do they generate? Are they a form of territorial embellishment and monument, and/or an incision in the existing urban fabric? With regard to these questions, we will try to understand how Parisian waterways are inscribed in this territory.Secondly, why are the warehouses built along the waterways? Of what type are they? Is there any differentiation between those established in Paris and those in La Villette? What kind of transformation are they generating? What is their place in the industrial and commercial development of the capital? Furthermore, how are the adjacent areas to the waterways urbanized? In relation to these issues, we will try to demonstrate how the city has adapted to the Parisian canals.Thirdly, why has the decision been made to cover a segment of Canal Saint-Martin during the Second Empire? How does this covering impact freight transportation and industrial activity along the waterway? How does the street systems and lot configurations evolve? Are any projects linked to this infrastructure and/or the city, coming up? Why are modernization projects for both canals of Ourcq and Saint-Denis undertaken while a length of the Saint-Martin canal is covered and the town of La Villette is annexed to Paris? What was the scope of work for these projects? How does the territory traversed by the infrastructure evolve? In this regard, we will attempt to measure how the Parisian canals were integrated to the city.We will try to understand how the Parisian canals, as large works of civil and industrial engineering, are inscribed within its territory, how the city adapts to this infrastructure and, inversely, how it adapts to the city. We will try demonstrate that, since their creation at the end of the XIXth century (1818-1876), canals have strongly influenced the urban formation of the cities from which they were excavated, whether used for the transportation of merchandise or water supply, whether open-air or covered. These canals can thus be considered as founding elements for their surrounding urban spaces.Through an analysis of the plurality of relations between Paris and its canals along the XIXth century, this thesis aims to construct an historical object. As an investigation starting from various issues borrowing from multiple disciplines, it focuses on the questions of form, use and representation. As a tool of reflexion intended to foster a greater understanding of the links between city and infrastructure, it seeks to bring new perspectives to the current issues of existing infrastructure and develop strategies, which exploit their presence within urban fabric, and the ways in which their edges and surroundings could be reconstituted
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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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Buis, Katelyn J. "Surviving Antigone: Anouilh, Adaptation and the Archive." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1392378901.
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Powers, Ashley. "The Commerce Of Time: The Influence Of Thirteenth Century Commercial Society On The Conception And Expression Of Time In Parisian Poet Rutebeuf’s Corpus." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1469089012.
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Jusseaume, Anne. "Soin et société dans le Paris du XIXe siècle : les congrégations religieuses féminines et le souci des pauvres." Thesis, Paris, Institut d'études politiques, 2016. http://www.theses.fr/2016IEPP0060.
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Au XIXe siècle, les sœurs hospitalières sont au cœur du système de soin parisien. L’identité et les activités sociales de ces femmes qui partagent un engagement religieux et un apostolat soignant auprès des pauvres de la capitale sont analysées dans cette thèse. La vocation, fruit d’un choix entre les jeunes femmes et l’institution, est une voie d’émancipation dans l’espace public et le monde du travail, mais qui leur permet aussi de s’affirmer comme individu en sapant l’autorité paternelle et en légitimant l’expression d’un désir. Chevilles ouvrières du système de santé publique et figures de la charité privée, les sœurs en accompagnent la croissance. Le soin aux pauvres et leur dévouement justifient la reconnaissance de leur utilité sociale devant l’urgence d’une société confrontée à une pauvreté massive et aux effets contrastés du processus de déchristianisation. Paradoxalement, la laïcisation conforterait leur présence dans le dispositif charitable et soignant de la capitale. Les sœurs se forment à certaines exigences médicales et cherchent à maintenir un « écart chrétien » dans le monde. Le soin des sœurs participe ainsi à la médicalisation de la société mais reste une stratégie de reconquête religieuse. Leur apostolat révèlerait que la demande sociale de santé et de religion reposerait sur un souci de soi et un besoin plus vaste d’attention. Mais ce « souci de soi » est aussi, pour les sœurs, une voie fonctionnelle et harmonieuse de réconcilier les volets religieux et profane de leur mission. Dès lors, les sœurs peuvent s’adapter à la modernité en articulant les préoccupations du siècle avec une exigence spirituelleIn the nineteenth century, sisters of charity were at the core of the Parisian health system. This thesis analyses the identity and the social activities of these women who shared a religious commitment and a caring apostolate towards the poor of Paris. Vocation, which resulted from a choice by young women and the religious institution, was a way for these women to find a place in public space and in the workplace. It enabled them to assert themselves as individuals, undermining paternal authority and legitimating the expression of a desire. Cornerstones of the public health system and figures of charity, the nuns accompanied the growth of both. Their care of the poor and their devotion justified their claim to be recognised as socially useful in a context where French society was confronted by the new problem of widespread poverty and by the countervailing effects of dechristianization. Paradoxically, republican secularization would confirm their presence in the capital’s caring and charitable system. The sisters undertook training to new medical standards at the same times as they tried to maintain a ‘Christian singularity’ in the world. The care that the sisters provided played a role in the medicalization of society but nonetheless remained part of a strategy of religious reconquest. Their apostolate would reveal that society’s health and religious needs rested on a ‘care of the self’ and a need for attention. This ’care of the self’ was also a way for the nuns to reconcile the lay and religious aspects of their mission. Thus, sisters of charity could adapt themselves to modernity by articulating worldly preoccupations with a spiritual imperative
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Kim, Lauren J. "French royal acts printed before 1601." Thesis, University of St Andrews, 2008. http://hdl.handle.net/10023/463.
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This thesis is a study of royal acts printed in French before 1601. The kingdom of France is a natural place to begin a study of royal acts. It possessed one of the oldest judicial systems in Europe, which had been established during the reign of St Louis (1226-1270). By the sixteenth century, French kings were able to issue royal acts without any concern as to the distribution of their decrees. In addition, France was one of the leading printing centres in Europe. This research provides the first detailed analysis of this neglected category of texts, and examines the acts’ significance in French legal, political and printing culture. The analysis of royal acts reveals three key historical practices regarding the role of printing in judiciary matters and public affairs. The first is how the French crown communicated to the public. Chapters one and two discuss the royal process of dissemination of edicts and the language of royal acts. The second is how printers and publishers manoeuvred between the large number of royal promulgations and public demand. An overview of the printing industry of royal acts is provided in chapter three and the printers of these official documents are covered in chapter four. The study of royal acts also indicates which edicts were published frequently. The last two chapters examine the content of royal decrees and discuss the most reprinted acts. Chapter five explores the period before 1561 and the final chapter discusses the last forty years of the century. An appendix of all royal acts printed before 1601, which is the basis of my research for this study, is included. It is the first comprehensive catalogue of its kind and contains nearly six thousand entries of surviving royal acts printed before 1601.
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Sequera, Héctor J. "Selected Lute Music from Paris, Rés. Vmd. Ms. 27 from the Bibliothèque Nationale: Reconstruction, Edition, and Commentary." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4652/.
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Paris . Rés. Vmd. Ms. 27, known as Tl.1, or the Thibault Manuscript, is one of the earliest extant sources of lute music, containing twenty-four solos and eighty-six accompaniments for vocal compositions. The manuscript was copied in Italian lute tablature lacking rhythm signs, which makes it inaccessible for modern performance. Each selection contains a full score of the four-part vocal concordance, and the reconstructed lute part in both the original notation and keyboard transcription. The introductory study elaborates upon the creation dates for Tl.1 (ca. 1502-1512) through its relationship with the sources of the time and with the older unwritten tradition of Italian secular music that is apparent in the formal treatment of the music.
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Segond-Genovesi, Charlotte. "Les chemins du patriotisme : musique et musiciens à Paris pendant la Grande Guerre." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040018.
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Comment les musiciens restés à Paris durant la Grande Guerre (car trop âgés ou dans l’incapacité de servir sur le front combattant) participent-ils à l’effort de la Nation contre l’ennemi allemand ? L’objet de cette thèse est d’explorer les multiples biais par lesquels les interprètes, musicographes et compositeurs du front domestique s’engagent (et engagent leurs compétences spécifiques) sur les chemins du patriotisme, entre le mois d’août 1914 et le mois de novembre 1918.La première partie de cette étude documente d’abord le processus ayant mené au « redémarrage » de la vie musicale parisienne (après quatre mois d’interruption), avant d’étudier les différents visages du patriotisme musicien en actes, d’abord en termes de postures intellectuelles, puis dans le cadre particulier du concert de musique « savante ». La deuxième partie s’intéresse plus spécifiquement aux œuvres de guerre : de manière souterraine et diffuse, ces structures aussi nombreuses que diverses ont permis, parfois motivé et souvent encadré de manière déterminante – tant sur le plan économique et pratique qu’idéologique et moral – les initiatives et les efforts des musiciens sur le front domestique. À mesure que le conflit s’enlise dans la durée, et que la vie musicale parisienne s’accommode des conditions et contraintes du temps de guerre, les motivations d’abord purement caritatives de ces œuvres de bienfaisance connaissent diverses mutations, en mettant notamment l’accent sur des enjeux plus spécifiquement artistiques et musicaux. La dernière partie explore enfin un autre aspect de l’engagement patriotique des musiciens « de l’arrière » : le fait de penser et de préparer l’avènement du monde artistique d’après-guerre, tant à travers les prises de positions et débats que dans les œuvres musicales elles-mêmesHow did the musicians who remained in Paris during the Great War (because of their age or their inability to serve in combat because of physical disability) take part in the nation’s effort against Germany ? This thesis explores the many ways in which performers, music critics and composers on the domestic front showed their commitment to and worked on behalf of the paths of patriotism, by using their specific skills, from August 1914 to Novembre 1918.Part One documents the process leading to the restarting of Parisian musical life, after four months of interruption. This section will explore the many facets of musical patriotism in action, first in terms of intellectual positions, then in the particular context of art-music concerts. Part Two focuses more specifically on the œuvres de guerre, the official term used to designate all charitable-aid organizations during World War I. These numerous and diverse organizations permitted, sometimes motivated and often framed in a decisive manner – economically, ethically and ideologically – the initiatives and efforts made by musicians on the domestic front. As the conflict bogged down over time, and as Parisian musical life progressively accommodated itself to wartime conditions and constraints, the initial aims of these associations, which began as purely charitable works, progressively transformed into organizations with specifically artistic and musical goals. The last part explores another aspect of musicians who worked “behind the scenes” in the war effort: it was they who thought about and prepared the advent of the postwar musical world, through artistic stances and debates, but also through the musical works they composed
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Marcilhac, Vincent. "Le luxe alimentaire français. Histoire et géographie d’une singularité." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040203.
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La prééminence française en matière de luxe alimentaire est souvent présentée comme une évidence. Pourtant il a existé et il existe d’autres cultures du luxe alimentaire dans le monde. Alors, pourquoi et comment la culture française du luxe alimentaire s’est-elle différenciée des autres en s’affirmant et en étant reconnue comme singulière ? Derrière l’apparente évidence, Il importe de démontrer et d’expliquer l’hypothèse d’une singularité française en matière de luxe alimentaire. Celle-ci est aujourd’hui remise en cause, en raison même de l’extension de son marché liée à l’industrialisation de sa production, à la diversification de ses circuits de distribution et à l’internationalisation de sa consommation, ainsi qu’à la montée d’une nouvelle concurrence et à l’évolution de la société. Alors, est-il toujours pertinent de parler de « luxe alimentaire français » ? Au-delà du marketing, cette question soulève le problème du maintien d’une créativité, d’une culture de consommation et d’un savoir-faire spécifiquement français. La valorisation patrimoniale et touristique des lieux de production contribue aujourd’hui à la reconnaissance de l’originalité, de la rareté et de l’excellence des produits alimentaires de luxe. Elle est aussi un outil de développement territorialThe prominence of France in the food luxury sector is often presented as a given. But other food luxury cultures have existed and still exist. So why and how has the French culture of food luxury differentiated itself from others by affirming itself and being recognized as a singularity? Behind the seeming evidence, it is important to demonstrate and explain the hypothesis of a French singularity in the matter of food luxury. Today, this singularity is called into question because of its own market extension linked to the industrialization of its production, to the diversification of its distribution channels, to the international reach of its consumption, as well as to the rise of a new competition and the evolution of society. So is it still relevant today to talk about "French food luxury"? Beyond marketing, this raises the challenge of maintaining a creativity, a culture of consumption and a know-how quintessentially French. Today, the patrimonial and touristic valuation of the production sites contributes to the recognition of originality, rarity and excellence of luxury food products. This valuation is also a mean for territorial development
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Tierney, Elaine Alice. "Strategies for celebration : realising the ideal celebratory city in London and Paris, 1660-1715." Thesis, University of Sussex, 2012. http://sro.sussex.ac.uk/id/eprint/39630/.
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Urban festival actively sought to transform the early modern city, creating an idealised space that was deemed to be a more suitable site for celebration. This dissertation shows how urban festival marked both the conjuncture and disjuncture between a rhetorical ideal and the challenges inherent in its practical realisation in London and Paris between 1660 and 1715. Celebrations were located in the real early modern city‐ a space that posed all manner of design problems for those responsible for designing, devising and choreographing festival. While the ideal celebratory city did exist in the rhetoric that informed preparations for events and their representation, festival also constituted a series of performances in real space and time that were subject to uncontrollable factors, such as poor weather, injury, uncooperative workforces and imperfect audience response. Only those charged with commemorating festival had full control over the event, producing the books, chronicles and illustrative material that are most often consulted as sources by festival historians. By means of a tripartite structure, this dissertation will interrogate how the deployment of the spectacular aspired to create the ideal celebratory city at three key moments in the narrative of every celebration. The first section focuses on the practical and legislative preparations made before events. The second section considers the evidence of what actually happened during the performance or realisation of the events. The third, and final, part of the dissertation looks at the representation of celebrations in printed textual descriptions and visual images. Starting from the evidence of objects, including viewing platforms, fireworks, temporary architecture and bonfires, it will suggest the extent to which the ideal was achieved and the ways in which it influenced the practice of those involved in its production. Moreover, as a single event could be informed by more than one version of the ideal celebratory city, evidence of preparation, performance and representation will also demonstrate how far celebrations were the product of contested ideals.