Academic literature on the topic 'Theater France Paris History 20th century'
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Journal articles on the topic "Theater France Paris History 20th century"
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Počs, Kārlis. "A VIEW ON THE HISTORY OF LATVIAN-FRENCH CULTURAL RELATIONS BEFORE WORLD WAR II." Via Latgalica, no. 1 (December 31, 2008): 75. http://dx.doi.org/10.17770/latg2008.1.1598.
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Because of the geographic location of the Latvian and the French nations and of different trends in the development of their histories contacts between them were established relatively late. This in turn slowed down the development of their cultural relations. In this development, we can distinguish two stages: before the formation of the Latvian state (from the second half of the 19th century until 1918), and during the Latvian state until the Soviet occupation (1920–1940). The objective of this paper is to determine the place and the role of the Latvian-French cultural relations in the development of the Latvian culture before World War II. For this purpose, archive materials, memoirs, reference materials and available studies were used. For the main part of the research, the retrospective and historico-genetic methods were mostly used. The descriptive method was mainly used for sorting the material before the main analysis. The analysis of the material revealed that the first contacts of the Latvians with French culture were recorded in the second half of the 19th century via fine arts and French literature translated into Latvian. By the end of the century, these relations became more intense, only to decrease again a little in the beginning of the 20th century, especially in the field of translations of the French belles-lettres. The events of 1905 strengthened Latvian political emigration to France. The emigrants became acquainted with French culture directly, and part of them added French culture to their previous knowledge. The outcome of World War I and the revolution in Russia then shaped the ground for the formation of the Latvian state. This dramatically changed the nature and the intensity of the Latvian-French cultural relations. To the early trends in the cooperation, the sphere of education was added, with French schools in Latvia and Latvian students in France. In the sphere of culture, relations in theater, music and arts were established. It should be noted that also an official introduction of the French into Latvian art began at that time. As a matter of fact, such an introduction had already been started by Karlis Huns, Voldemars Matvejs, and Vilhelms Purvitis, who successfully participated in the Paris art exhibitions before the formation of the Latvian state. In the period of the Latvian state, artists would arrange their personal exhibitions in France, and general shows supported by the state would be arranged. The most notable of them were the following: - In 1928, the Latvian Ministry of Education supported the participation of all Latvian artists’ unions in the exhibition dedicated to the 10th anniversary of the state. General shows were organized in Warsaw, Budapest, Copenhagen, Paris, London, etc. (Jaunākās Ziņas, 1928: Nr. 262, 266); - in the summer of 1935, an exhibition of folk art from the Baltic states, including textiles, clothes, paintings, sculptures, and ceramics was opened in Paris; - the largest exhibition of Latvian artists in Paris took place from January 27 to February 28, 1939, with presidents of both states being in charge of its organization. It can be concluded that the Latvian-French cultural relations were an important factor in the development of Latvian culture, especially in the spheres of fine arts and literature until the Soviet occupation.
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Sabova, Anna D. "The 1904-1905 Russo-Japanese War: Specifics of Coverage by French Correspondents in the Far East." Vestnik Tomskogo gosudarstvennogo universiteta, no. 468 (2021): 44–52. http://dx.doi.org/10.17223/15617793/468/5.
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The article aims at identiIying the speciIic qualities oI corerage oI the war between Russia and Japan in 1904-1905 by French newspapers. The study is based on the publications in Iour oI the leading French newspapers oI the period (Le Figaro, Le Temps, Le Journal, and Le Matin) which are presented in Gallica, the online archiye of the National Library of France (Bibliotheque nationale de France). Particular attention is Iocused on publications that reIlect the early period oI the conIlict (27 January - 10 February 1904) and sereral episodes of the war (the shelling of Port Arthur in January-February 1904 and the battle of Liaoyang 24 August - 4 September 1904). The study of archiral documents (a total of 15 issues of Le Matin, 15 issues of Le Journal, 10 issues of Le Figaro, and 2 issues of Le Temps that hare preriously been neither fully translated into Russian nor presented to the academic community) clearly demonstrates that the French newspapers followed one single communication strategy which was quite different from the other pro-Japanese European and American media. The study of hard news and interriews published on the early stage of the conflict reflects the attempts to create a positire image of the Russian Empire in the eyes of French readers, eren though the analysed newspapers relied mainly on reports from English, German, and American newspapers and telegraph agencies. Howerer, reportages, published by a dozen of journalists sent to the theatre of operations in the Far East from Paris, were not only a part of this strategy to reinforce the positive image of Russian troops, they also created an objective picture and a deeply personal account of the event seen through the eyes of a war reporter - the identity and adventures of a war correspondent became, for the first time in the history of French press, a major subject of interest for the audience of the French press. Having examined in detail the publications of two quality newspapers (Le Figaro and Le Temps) and two newspapers for a wider audience (Le Matin and Le Journal) presented on the website of the Gallica archive, the author comes to the conclusion that the French press established a dual approach to war coverage in these years. Despite the great role of information from foreign newspapers and telegraph agencies, gradually, it is the reportage from French correspondents that becomes the leading genre in French journalism at the beginning of the 20th century. Articles describing the reporter's view of the war laid the foundation not only for war journalism but for reportage journalism in the French press as well. Therefore, this study analyses these publications as proper examples of the war reportage and not just as individual correspondence from the front lines. The case of the Russo-Japanese war coverage allows analysing the principles of the construction of belligerents' images in quality and mass newspapers as well as their communication strategy.
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Diakov, Nikolai. "Islam in the Colonial Policy of France: from the Origins to the Fifth Republic." ISTORIYA 12, no. 5 (103) (2021): 0. http://dx.doi.org/10.18254/s207987840015901-0.
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History of relations between France and the Islamic world goes back to the first centuries of Hijra, when the Franks first faced the Caliphate and its troops in the Eastern and Western Mediterranean. On the eve of the New times Paris had already developed its numerous contacts with Turkey, Iran and the Arab West — the Maghreb area. The conquest of Algeria (from 1830) formed a basis of the French colonial empire in Africa and Asia with the growing role of Islam in political activities and ambitions of Paris. Millions of Muslims in French colonies contributed to growth of political and economic progress of their metropoly with its pretensions to become a great Muslim power. Meanwhile, thousands of them lost their lives during two great world wars of the 20th century. Waves of immigration gave birth to an impressive Islamic community (‘umma), in France, reaching about a million of residents by the middle of the 20th century. With the growth of Muslim immigration from Africa and the Middle East a number of Muslims among the natives of France also augmented. By the end of the last century the Muslims formed as much as about 10 % of the whole population of France. The “French Islam” born at the dawn of the 20th century. after a century of its evolution became an important civilizational reality of Europe, at times more attractive for the local youth than traditional Christian values, or the new ideals, brought with the winds of globalism, multiculturalism and a “non-stop consumerism”.
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Goethals, Jessica. "The Patronage Politics of Equestrian Ballet: Allegory, Allusion, and Satire in the Courts of Seventeenth-Century Italy and France." Renaissance Quarterly 70, no. 4 (2017): 1397–448. http://dx.doi.org/10.1086/695350.
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AbstractEquestrian ballet was a spectacular genre of musical theater popular in the Baroque court. A phenomenon with military roots, the ballet communicated both the might and grace of its organizers, who often played starring roles. This essay explores the ballet’s centrality by tracing the itinerant opera singer and writer Margherita Costa’s use of the genre as a means of securing elite patronage: from an elegant manuscript libretto presented to Grand Duke Ferdinando II de’ Medici and later revised in print for Cardinal Jules Mazarin in Paris, to occasional poetry written for the Barberini in Rome, and even burlesque caricatures.
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Hamilakis, Yannis, and Felipe Rojas. "A conversation with Alain Schnapp." Archaeological Dialogues 26, no. 01 (June 2019): 25–37. http://dx.doi.org/10.1017/s1380203819000023.
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On 13 November 2017, Yannis Hamilakis, Felipe Rojas, and several other archaeologists at Brown University engaged in a conversation with Alain Schnapp about his life and career. Hamilakis and Rojas were interested in learning about how Schnapp’s early academic and political interests intersected with the history of Classics and classical archaeology in France, Europe and elsewhere in the world, and also about the origins and current aims of Schnapp’s work on the history of archaeology and antiquarianism and the cross-cultural history of ruins. Schnapp and his interlocutors began by discussing Schnapp’s formative years and the intersections between archaeology and politics in mid-20th-century France. Their conversation turns to the role of individual scholars, specifically classicists and archaeologists, in the momentous social events in Paris in 1968. The final part of the dialogue concerns Schnapp’s contributions to the history of archaeology and the possibilities of engaging in the comparison of antiquarian traditions.
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Lönnroth, Harry. "“Sie sagen skål und Herre gud und arrivederci”: On the Multilingual Correspondence between Ellen Thesleff and Gordon Craig." Journal of Finnish Studies 19, no. 1 (June 1, 2016): 104–20. http://dx.doi.org/10.5406/28315081.19.1.07.
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Abstract The Finnish painter Ellen Thesleff (1869 − 1954) is one of the most famous female painters in Scandinavian art history. During her stay in Florence, Italy, at the beginning of the twentieth century, she became acquainted with the British theater personality and artist (Edward) Gordon Craig (1872 − 1966). Their correspondence from the first half of the century is a part of European cultural history and art criticism; they write, among other things, about painting and graphics, literature and theater. Of linguistic importance is that the original letters preserved for posterity contain traces of many European languages: not only German, which is a central language in the correspondence, but also French, Italian, and English. The focus of this paper is the coexistence of languages in the multilingual correspondence—about 200 dated and 60 undated letters—kept at the National Library of France in Paris. In this paper, microfilms are used instead of the original material, and the selection of letters is limited to twenty-five. The particular interest lies in Ellen Thesleff as a multiliterate, writing individual, and her choices of and switches between different languages. My study shows that Thesleff used a variety of languages when writing letters. This can, for example, be seen from the perspective of the personal nature and the communicative function of the personal letters, where the “self” of the writer is present. In a way, multilingualism has among other things an emotional function for her: one could, for instance, argue that it was used as a kind of “secret writing” or language play between Thesleff and Craig.
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Pavlenko, Valerii, and Oleksandr Komarenko. "HISTORY REPEATS ITSELF: THE INABILITY OF THE FORCES OF PEACE AND DEMOCRACY AROUND THE WORLD TO PREVENT THE OUTBREAK OF A PLANETARY WAR IN THE 2ND HALF OF THE 1930S." European Historical Studies, no. 21 (2022): 82–93. http://dx.doi.org/10.17721/2524-048x.2022.21.6.
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In this paper the international political situation, which was established in Europe and in the world in the latter half of the 30s of the 20th century, is investigated. The authors draw a comparison between the 20s and 30s of the 20th century, pointing out that the 30s brought a series of military conflicts, as well as say that the fear of a new great war has been appeared throughout the world. Attention is drawn to the inactivity of the League of Nations, which failed to ensure a collective security policy between 1936 and 1938. Special attention has been drawn to the appeasement policy and the role of Great Britain and France in this policy, who did not want to bring the situation to military confrontation. It is pointed out that by the mid-1930s Germany went on the offensive and set itself the goal of achieving supremacy in Europe. Special attention is drawn to the reaction of Western countries to Hitler’s aggressive policy, as well as the actions of the Soviet Union and the policy carried out by Moscow on the eve of World War II are assessed. It is stated that in 1938-1939 the world policy increasingly focused on particular regions, where the conflict number and intensity were increasing sharply. The role of the Munich Conference in September 1938 and the fact that the initiative in international affairs was completely transferred to A. Hitler upon the signing of the agreement are determined. The policy of Great Britain and France after the Munich Conspiracy is analysed; it is explained why London and Paris thought primarily about personal security. A special place in this paper is given to the explanation of why the existing international system could no longer ensure the world order and why war becomes inevitable. The authors come to the conclusion that although Hitler managed to win the diplomatic struggle on the eve of World War II, but he did not finally become a triumphant.
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Hill, Edwin. "Making claims on echoes: Dranem, Cole Porter and the biguine between the Antilles, France and the US." Popular Music 33, no. 3 (August 28, 2014): 492–508. http://dx.doi.org/10.1017/s0261143014000610.
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AbstractThis paper considers the ways in which the biguine (or ‘beguine’) circulated as a French West Indian musical genre and as a signifier for colonial and island exoticism in non-biguine musical genres during the early to mid-20th century. I begin by suggesting the ways in which the colonial and transnational conditions of its performance have left a history of ideological tensions within popular and academic discussions about the biguine. I then suggest some of the specific ways in which the biguine's circulation functioned in the context of the interwar years and resonated with the discourse and dynamics of ‘Jazz Age Paris’, negrophilia and le tumulte noir. Finally, I offer a close reading of the ways in which French comedian-singer Dranem's ‘La Biguine’ and Cole Porter's ‘Begin the Beguine’ playfully represent the genre in French chanson coloniale and popular song. Rather than viewing the biguine's conditions of performance, or the re-appropriation of the biguine in name only, as the equivalent of the complete musical colonisation and erasure of the genre, I propose that we extend biguine discussion beyond its empirical musicological elements, and lay claim on the echoes of biguine discourse as they resonate through other genres.
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Kantoříková, Jana. "Melancholy, Hanuš Jelínek and Miloš Marten." Acta Musei Nationalis Pragae – Historia litterarum 61, no. 1-2 (2016): 77–82. http://dx.doi.org/10.1515/amnpsc-2017-0022.
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The aim of this article is to present the roles of Miloš Marten (1883–1917) in the Czech–French cultural events of the first decade of the 20th century in the background of his contacts with Hanuš Jelínek (1878–1944). The first part of the article deals with Marten’s artistic and life experience during his stays in Paris (1907–1908). The consequences of those two stays to the artist’s life and work will be accentuated. The second part takes a close look at Miloš Marten’s critique of Hanuš Jelínek’s doctoral thesis Melancholics. Studies from the History of Sensibility in French Literature. To interpretate Marten’s reasons for such a negative criticism is our main pursued objective. Such criticism results not only from the rivality between Czech critics oriented to France, but also from different conceptions of the role of critical method and the role of the critic and the artist in the international cultural politics. The third part concludes with the critics’ „reconciliation‟ around 1913 by means of the common interest in the work and personality of Paul Claudel.
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Bourdillon, Pierre, Caroline Apra, and Marc Lévêque. "First clinical use of stereotaxy in humans: the key role of x-ray localization discovered by Gaston Contremoulins." Journal of Neurosurgery 128, no. 3 (March 2018): 932–37. http://dx.doi.org/10.3171/2016.11.jns161417.
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Although attempts to develop stereotactic approaches to intracranial surgery started in the late 19th century with Dittmar, Zernov, and more famously, Horsley and Clarke, widespread use of the technique for human brain surgery started in the second part of the 20th century. Remarkably, a significant similar surgical procedure had already been performed in the late 19th century by Gaston Contremoulins in France and has remained unknown. Contremoulins used the principles of modern stereotaxy in association with radiography for the first time, allowing the successful removal of intracranial bullets in 2 patients. This surgical premiere, greatly acknowledged in the popular French newspaper L’Illustration in 1897, received little scientific or governmental interest at the time, as it emanated from a young self-taught scientist without official medical education. This surgical innovation was only made possible financially by popular crowdfunding and, despite widespread military use during World War I, with 37,780 patients having benefited from this technique for intra- or extracranial foreign bodies, it never attracted academic or neurosurgical consideration. The authors of this paper describe the historical context of stereotactic developments and the personal history of Contremoulins, who worked in the department of experimental physiology of the French Academy of Sciences led by Étienne-Jules Marey in Paris, and later devoted himself to radiography and radioprotection. The authors also give precise information about his original stereotactic tool “the bullet finder” (“le chercheur de projectiles”) and its key concepts.
Dissertations / Theses on the topic "Theater France Paris History 20th century"
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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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Gaudette, Stacey Leigh, and University of Lethbridge Faculty of Arts and Science. "Genêt unmasked : examining the autobiographical in Janet Flanner." Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Arts and Science, 2006, 2006. http://hdl.handle.net/10133/531.
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This thesis examines Janet Flanner, an expatriate writer whose fiction and
journalism have been essential to the development of American literary modernism in
that her work, taken together, comprises a remarkable autobiographical document which
records her own unique experience of the period while simultaneously contributing to its
particular aesthetic mission. Although recent discussions have opened debate as to how a
variety of discourses can be read as autobiographical, Flanner’s fifty years worth of
cultural, political, and personal observation requires an analysis which incorporates
traditional and contemporary theories concerning life-writing. Essentially,
autobiographical scholarship must continue to push the boundaries of analysis, focusing
on the interactions and reactions between the outer world and the inner self. This thesis,
therefore, will situate Janet Flanner as an important writer whose experience among the
modernist literary community in Europe informs, and is recorded in, her writing.v, 93 leaves ; 29 cm.
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Périssol, Guillaume. "Le droit chemin. Jeunes délinquants en France et aux États-Unis au milieu du XXe siècle." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL055.
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La miséricorde ne se commande pas, Elle tombe comme la douce pluie du ciel ». Cette citation de Shakespeare sert encore dans les années 1950 de devise au Tribunal pour enfants de Boston. À la fonction traditionnellement répressive du droit, elle tend à substituer une fonction idéologique sous l’expression de l’amour. Le modèle américain de la juvenile court, saturé d’idéaux de compassion et de réhabilitation, connaît un succès mondial depuis la création à Chicago, en 1899, du premier tribunal pour enfants. Que cachent le progressisme des juvenile courts et le « néohumanisme judiciaire » vanté par le juge Jean Chazal après l’ordonnance de 1945, qui constitue le véritable acte de naissance des tribunaux pour enfants en France ? Que signifie le succès très rapide des tribunaux pour enfants aux États-Unis, en Europe et dans le monde ? La comparaison de deux pays occidentaux, reliés entre eux, aide à répondre à ces questions, venant combler un vide historiographique et permettant de mieux comprendre le système de la justice des mineurs et le phénomène de la délinquance juvénile. La période qui suit la Seconde Guerre mondiale est particulièrement propice à l’analyse, puisque se posent alors de manière aiguë des questions sur l’autorité et l’éducation dans un contexte de paniques internationales autour de la délinquance juvénile. Cette étude s’inscrit dans un champ interdisciplinaire innovant, au croisement de l’histoire de la jeunesse et de l’histoire de la justice et du contrôle. Tout à la fois qualitative et quantitative, elle s’appuie sur des archives inédites, comme les dossiers des tribunaux pour enfants de Boston et de la Seine, à ParisThe quality of mercy is not strain'd, It droppeth as the gentle rain from heaven.” This Shakespeare quote was still used in the 1950s as the motto of the Boston Juvenile Court. It tended to replace the traditional repressive function of the law by an ideological function expressed by love. The American juvenile court model, highly imbued with the ideal of compassion and rehabilitation, had had a worldwide success since 1899, when the first juvenile court was created in Chicago. What lies behind the progressivism of the juvenile courts and the “judicial neohumanism” praised by Judge Jean Chazal after the 1945 law which heralded the veritable birth of juvenile courts in France? What signification can we give to the very rapid success of juvenile courts in the United States, Europe and throughout the world?The comparison between two interconnected Western countries can help answer these questions, while filling a historiographical gap, in order to better understand the juvenile justice system and the phenomenon of juvenile delinquency. The post-WW2 period is most pertinent for analysis, as acute questions concerning authority and education were being raised amid international delinquency panics. The study takes place in an innovative and interdisciplinary field, where youth history intersects with the history of justice and control. It is qualitative and quantitative, and is based on new archival material, such as the case files of the Boston Juvenile Court and the Seine Juvenile Court in Paris
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Seniuta, Isabella. "Histoire du Eye Club : les valeurs de la photographie : Paris-New York (1960-1989)." Thesis, Paris 1, 2020. http://www.theses.fr/2020PA01H004.
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Cette thèse s’interroge sur l’invention d’une formule : The Eye Club. Inventée par l’historienne américaine Eugenia Parry, elle désigne un regroupement actif dans les années 1960-1990 composé de : Pierre Apraxine, Hugues Autexier, François Braunschweig, Françoise Heilbrun, André Jammes, Gérard Lévy, Harry Lunn, Philippe Néagu, Alain Paviot, Richard Pare, Sam Wagstaff et Robert Mapplethorpe. Ces douze figures vivent entre la France et les États-Unis et sont rattachées par plusieurs facteurs culturels et temporels. Ce «club» n’est pas à proprement parler un cercle de sociabilités, c’est une constellation, une nébuleuse faite de positionnements culturels épars et de projets artistiques divers. La question principale qui a guidé cette enquête est la suivante : en quoi ce Eye Club et ses acteurs, pris individuellement, ont-t-ils contribué à réévaluer la valeur commerciale, esthétique et institutionnelle, de la photographie dans les années 1960-1990 entre Paris et New York ? La chronologie démarre avec les engagements d’André Jammes dans le monde de la photographie au tournant des années 1960 et se termine en 1989, l’année de la mort de Mapplethorpe. L’enquête réalisée dans les archives et auprès des acteurs a fait émerger des noms connus, et d’autres, qui sont demeurés dans les coulisses de l’histoire. Cette étude se propose de lever le voile sur un réseau interdépendant d’acteurs, dont les intérêts communs pour la photographie ont permis de créer le marché de la photographie, tel que nous le connaissons aujourd’hui, et son institutionnalisation. Le premier volume de la thèse propose, dans une perspective transatlantique, une réflexion sur ce regroupement à partir des images et des correspondances. Le second volume rassemble vingt-quatre entretiens réalisés au cours des cinq années de recherche. D’abord avec les figures du Eye Club (Pierre Apraxine, Françoise Heilbrun, Richard Pare et Alain Paviot), puis avec les familles des acteurs du Eye Club et enfin avec diverses personnalités du monde photographique (Frish Brandt, Peter Bunnell, Denis Canguilhem, Sylviane De Decker, Viviane Esders, Patrick Faigenbaum, Philippe Garner, Maria Morris Hambourg, Susan Kismaric, Hans Peter Kraus Jr., Harold Jones, Baudoin Lebon, Eugenia Parry, Françoise Reynaud, Samia Saouma et Daniel Wolf). Ensemble, les deux volumes esquissent une histoire de rencontres entre des passionnés de photographie qui s’est principalement articulée sous une forme orale entre la France et les États-Unis dans les années 1960-1980This thesis questions the invention of a phrase : The Eye Club. Invented by the American historian Eugenia Parry, it has been designating a grouping active in the 1960s-1980s composed of : Pierre Apraxine, Hugues Autexier, François Braunschweig, Françoise Heilbrun, André Jammes, Gérard Lévy, Harry Lunn, Philippe Néagu, Alain Paviot, Richard Pare, Sam Wagstaff and Robert Mapplethorpe. These twelve characters lived between France and the United States and are connected and related by several cultural and temporal factors. This grouping is not, strictly speaking, a circle of sociability, it is rather a constellation or a nebula made of scattered cultural positions and diverse artistic projects. The main question that guided this survey is the following: in what way does the Eye Club and its individual actors contributed to the re-evaluation of the commercial, aesthetic and institutional value of photography between the early 1960s and the late 1990s among Paris and New York ? The chronology begins with André Jammes' involvement in the world of photography and ends in 1989, the year of Mapplethorpe's death. An inquiry of archives and key players has brought to light some well-known names, and others that remained in the shadow of history. This study aims at unveiling an interdependent network of actors, whose common interests in photography have made it possible to establish, in one generation, the photography market as we know it today. The first volume of the thesis offers, from a transatlantic perspective; an investigation and analysis of this based on photographs and correspondences. The second volume brings together twenty-four interviews conducted over my five years of doctoral research. First with the main protagonists of The Eye Club (Pierre Apraxine, Françoise Heilbrun, Richard Pare and Alain Paviot), then with the families of The Eye Club and finally with various personalities from the world of photography (Frish Brandt, Peter Bunnell, Denis Canguilhem, Sylviane De Decker, Viviane Esders, Patrick Faigenbaum, Philippe Garner, Maria Morris Hamburg, Susan Kismaric, Hans Peter Kraus Jr, Harold Jones, Baudoin Lebon, Eugenia Parry, Françoise Reynaud, Samia Saouma and Daniel Wolf). Together, the two volumes sketch a history of encounters between photography enthusiasts that has, up to now, been mainly articulated in oral form between France and the United States in the 1960s and 1980s
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Jorge, Muriel. "Philologie, grammaire historique, histoire de la langue ˸ constructions disciplinaires et savoirs enseignés (1867-1923)." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA138.
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Entre la fin des années 1860 et le milieu des années 1920, la philologie, la grammaire historique et l’histoire de la langue sont introduites dans l’enseignement supérieur français grâce à la création de postes et de chaires dans des établissements nouvellement fondés, comme l’École Pratique des Hautes Études et l’École normale supérieure de jeunes filles de Sèvres, ou profondément rénovés, comme la Faculté des lettres de Paris. La disciplinarisation de ces savoirs linguistiques de type historique participe du rapprochement entre enseignement et recherche et, ainsi, du renouvellement du système universitaire. En atteste la carrière dans les trois institutions citées de Gaston Paris, Arsène Darmesteter et Ferdinand Brunot, retracée à l’aide de correspondances privées et de documents d’archives d’ordre institutionnel. L’analyse de documents publiés par les établissements eux-mêmes (affiches, livrets, comptes rendus d’enseignements, ouvrages commémoratifs) met en évidence les difficultés que rencontrent ces trois enseignants pour s’adapter aux divers publics étudiants et aux préconisations officielles. Leurs notes de cours reflètent un travail de didactisation, qui passe par des pratiques d’écriture diverses dont on identifie les spécificités à l’aide des outils de la génétique textuelle. L’étude approfondie de deux objets de savoir met en lumière l’intérêt de ces notes en tant que sources pour l’histoire des idées linguistiques et de leur enseignement. D’abord, l’histoire de l’orthographe française, bien qu’absente des intitulés des cours, est présente dans les notes de cours. Ensuite, le « latin vulgaire » est un thème porteur d’enjeux idéologiques et épistémologiques majeurs invisibles dans les affichages institutionnelsBetween the late 1860s and the mid-1920s, philology, historical grammar and language history are introduced into the French higher education system with the creation of positions and tenures in newly founded schools, such as the École Pratique des Hautes Études and the girls’ École normale supérieure in Sèvres, and in deeply transformed institutions, like the Paris Faculty of Letters. Making history-oriented linguistic knowledge into disciplines contributed to bring teaching and research closer together and led to the rebirth of the university system. This is illustrated by the careers of Gaston Paris, Arsène Darmesteter and Ferdinand Brunot in these institutions as evidenced by private correspondence and institutional archive material. The analysis of documents published by the establishments (posters, booklets, teaching records, anniversary publications) casts light on the problems these teachers faced when attempting to adapt to various student populations and official guidelines. Their teaching notes reveal content adaptation through diverse writing practices, which we identify and characterize by using text genetics. The in-depth study of two knowledge contents demonstrates the use that can be made of these notes as sources for the history of linguistic thought and its teaching. Firstly with the history of French orthography which is present in teaching notes, although it does not appear in course titles. Secondly with vulgar Latin as a theme that pertains to major ideological and epistemological issues which are invisible in institutional display material
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Zhiltsova, Maria. "Le transfert des ballets de Paris à Saint-Pétersbourg au milieu du XIXe siècle, entre copie et création : le cas de Jules Perrot (1810-1892), chorégraphe français dans l'Empire russe." Thesis, Paris 1, 2020. http://www.theses.fr/2020PA01H054.
Full textAbstract:
Cette thèse cherche à comprendre le phénomène de la circulation des spectacles chorégraphiques de Paris à Saint-Pétersbourg au milieu du XIXe siècle et relève de l’histoire des relations culturelles internationales. La recherche se focalise sur les ballets créés à l’Opéra de Paris et remontés au Grand théâtre de Saint-Pétersbourg par Jules Perrot (1810-1892), danseur et chorégraphe français qui travaille en Russie de 1848 à 1861, et vise à montrer dans quelle mesure les ballets parisiens donnés à Saint-Pétersbourg correspondent à leurs versions originales. Le problème du transfert des spectacles est abordé sous des angles différents, inscrit dans son double contexte exportation-réception et dans la longue tradition des échanges culturels franco-russes. Nous éclairons d’abord le mécanisme des échanges dans le ballet entre la France et la Russie, qui comprend les circulations humaines, les importations en danse et le transport des objets. Ensuite les spectacles sont étudiés dans le processus de leur réalisation des points de vue chorégraphique, musical et scénographique. Nous examinons la réception des ballets dans les deux pays. Les ballets présentés à Saint-Pétersbourg dans des conditions artistiques, intellectuelles et techniques similaires de celles de leur création à Paris s’avèrent proches de leurs versions originales mais revisités pour le meilleur par Perrot : en tant que maître de ballet qui possède une forte personnalité artistique, un grand talent et beaucoup d’expérience, Perrot influence et coordonne différentes parties des spectacles. La tradition du transfert des ballets de la France en Russie au milieu du XIXe siècle permet de conserver les œuvres mais également de les enrichir grâce à la contribution de meilleurs artistes russes et européens, notamment français, présents constamment en Russie dans la cadre d’échanges culturels développés entre les deux paysThis thesis intends to understand the phenomenon of the circulation of choreographic performances from Paris to St. Petersburg in the middle of the 19th century and is part of the history of international cultural relations. The research focuses on ballets created at the Paris Opera and returned to the Grand Theater of St. Petersburg by Jules Perrot (1810-1892), a French dancer and choreographer who worked in Russia from 1848 to 1861, and aims to explain in what measure the Parisian ballets performed in St. Petersburg correspond to their original versions. The problem of transferring shows is approached from different angles, in its dual export-reception context and a long tradition of Franco-Russian cultural exchanges. First, we shed light on the mechanism of ballet exchanges between France and Russia, which includes human movements, dance imports and the transportation of objects. Then the shows are studied in the process of their realization from the choreographic, musical and scenographic points of view. Finally, we examine the ballet reception in both countries. The ballets performed in St. Petersburg under artistic, intellectual and technical conditions similar to those of their creation in Paris are close to their original versions but revisited for the better by Perrot: as a ballet master with a strong artistic personality, a great talent and a lot of experience, Perrot influences and coordinates different parts of the shows. The tradition of transferring ballets from France to Russia in the mid-nineteenth century makes it possible to preserve the works but also to enrich them thanks to the contribution of better Russian and European artists, particularly French, constantly present in Russia in the context of cultural exchanges developed between the two countries
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Bundu, Malela Buata. "L'Homme pareil aux autres: stratégies et postures identitaires de l'écrivain afro-antillais à Paris, 1920-1960." Doctoral thesis, Universite Libre de Bruxelles, 2006. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210803.
Full textAbstract:
Cette étude porte sur le fait littéraire afro-antillais de l’ère coloniale (1920-1960). Il s’agit d’examiner les stratégies des agents à partir des cas de René Maran, Léopold Sédar Senghor, Aimé Césaire, Édouard Glissant et Mongo Beti et de percevoir comment ils se définissent leur identité littéraire et sociale.Pour ce faire, notre démarche s’articule en deux temps :(1) examiner les conditions de possibilité d’un champ littéraire afro-antillais à Paris (colonisation française et ses effets, configuration d’un champ littéraire pré-institutionnalisé, etc.) ;(2) analyser les processus de consolidation du champ, ainsi que les luttes internes qui opposent deux tendances émergentes représentées d’abord par Senghor et Césaire, ensuite par Beti et Glissant, dont les prises de position littéraires mettent en œuvre des « modèles empiriques » ;ceux-ci régulent et unifient leurs rapports au monde et à l’Afrique.
This study relates to afro-carribean literature in colonial period (1920-1960). We want to examine the strategies of agents like René Maran, Léopold Sédar Senghor, Aimé Césaire, Édouard Glissant and Mongo Beti ;and we want to understand how they invente literary and social identity.
Our approach is structured in two steps: we shall analyse (1) the conditions for an afro-carribean literary field to appear in Paris (french colonialism and its consequences, configuration of literay field.) ;(2) the consolidation of this field and the internal struggles between two tendances represented by Senghor and Césaire, by Glissant and Beti whose literary practice shows the “empirical model” that regularizes and consolidates their relation with the world and Africa.
Doctorat en philosophie et lettres, Orientation langue et littérature
info:eu-repo/semantics/nonPublished
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Scott, Victoria Holly Francis. "La beauté est dans la rue : art & visual culture in Paris, 1968." Thesis, 2000. http://hdl.handle.net/2429/10958.
Full textAbstract:
Removed from its artistic origins in the French avant-garde during the interwar
period, the European based group known as the situationist international is often
represented as being solely occupied with politics to the exclusion of all else, particularly
art and aesthetics. In what follows I argue that throughout the sixties the anti-aesthetic
position was actually the governing model in France obliging the avant-garde to adjust
their strategies accordingly. Artists and artists' collectives that placed politics before
aesthetics were the norm, enjoying widespread popularity and recognition from both the
public and the French State. These overtly partisan groups and individuals sapped art of
the power it had enjoyed in the fifties as a venue removed, or at least distanced from,
formal politics. In response, the situationists officially rejected the art world, turning to
the popular and vernacular culture of the streets in an attempt to get beyond both
classical aesthetic principals and the overt propagandistic objectives of groups such as le
Salon de la jeunePeinture. Turning to the climactic moment of 1968 I track the ways in
which these debates informed the posters and graffiti which marked the unfinished
revolution, sorting out the various aesthetic positions and political persuasions that
dominated the events. My thesis contends that the situationists were not anti-aesthetic,
that they simply advocated a different kind of aesthetics: one that rejected traditional
notions of beauty for the more active and open concept of poiesis or poetry. Beyond
words on a page, this notion implied art as a way of life, emphasizing production,
creation, formation and action and can be traced back to the groups prewar origins in the
Dada and surrealist movements. Moreover, this concept of poetry was not adverse to
issues of form being highly dependent on the materiality and physicality of the urban
centre, specifically the streets. Finally my conclusion expands upon the similarities
between this notion of poetry and the 17th century understanding of beauty, the latter
concept being associated with a subtle criticality and strategic wit. It was this
interpretation of beauty that defined and produced the art of 1968.
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Mounsef, Donia. "À corp(u)s perdus : corporéité et spatialité dans le théâtre de Bernard-Marie Koltès et d’Hélène Cixous." Thesis, 2000. http://hdl.handle.net/2429/11264.
Full textAbstract:
This thesis deals with the representation of the body and space in the
theatre of Bernard-Marie Koltes and Helene Cixous. From the theoretical point of
view, it looks at transition in French theatre from a modern to a postmodern
predicament, from a discursive to a corporeal theatre. It then looks at the ways
postmodern culture maps, configures, disciplines, and violates the body,
particularly through the relationship of the new textuality to its stage
manifestations. Textually, it analizes three plays by each playwright. The
juxtaposition of the works of Koltes and Cixous allows for an in depth look at the
theatre of the 1970's and 80's in France, a period marked by theatrical
decentralisation and experimentation. Both favoured a strong tie to theatre
practice while developing a close relationship with a theatre director: Patrice
Chereau, in the case of Koltes, and Ariane Mnouchkine, in the case of Cixous.
Aside from looking at the relationship with theatre practitioners, this thesis
examines a number of aesthetic and political affinities which bring Koltes and
Cixous together, such as redefining a postmodern mythology and a political role
for theatre. Unlike many postmodernist theatre practices that try to evade political
commitment, both Cixous and Koltes are preoccupied with the resistance to a
nihilistic discourse, and propose an evolving and corporeal stage presence
inscribed in a pluralistic space of representation. For Koltes, the body on the stage
resists symbolic categorization in Combat de negre et de chiens (1979), it then
becomes related to spatial reality outside language in Quai ouest (1985), and
finally the corporeal body is culturally and ideologically mapped in Le Retour au
desert (1988). This triple dimension is also reflected in the work of Cixous, for
whom the theatre is a space of feminist praxis. First, the space of representation,
through the subversive performativity of the body, questions the premises of the
psychoanalytic gaze in Portrait de Dora (1976), then classical mythology is
rewritten to disrupt patriarcal discourse in Le Nom d'Oedipe: chant du corps
interdit (1978), and a post-colonial role for theatre is redefined in order to question
the historical subject in L'Indiade ou l'lnde de leurs reves (1987).
Finally, this thesis looks at the ways both Koltes and Cixous join in with
postmodernism in declaring the impossibility of grand-narrative, while trying to
show how identity cannot be based on essentialist categories of race, gender,
ethnicity, or sexual orientation, but on the performance of all these various
categories as they intersect in the performing body.
Books on the topic "Theater France Paris History 20th century"
1
Flanner, Janet. Paris journal. San Diego: Harcourt Brace Jovanovich, 1988.
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Gerhard, Anselm. The urbanization of opera: Music theater in Paris in the nineteenth century. Chicago: University of Chicago Press, 1997.
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3
Anne, Baldassari, Musée Picasso (Paris France), and Art Gallery of Ontario, eds. Picasso: Masterpieces from the Musée National Picasso, Paris. Paris: Musée National Picasso, 2012.
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4
Duncan, Alastair. The Paris salons, 1895-1914. Woodbridge, Suffolk: Antique Collectors' Club, 1994.
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5
War and religion: Catholics in the churches of occupied Paris. Washington, DC: Catholic University of America Press, 1998.
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Paris-Bucharest, Bucharest-Paris: Francophone writers from Romania. Amsterdam: Rodopi, 2012.
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7
Emmet, Kennedy, ed. Theatre, opera, and audiences in revolutionary Paris: Analysis and repertory. Westport, Conn: Greenwood Press, 1996.
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8
John, Baxter. We'll Always Have Paris. New York: HarperCollins, 2008.
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9
Between justice and politics: The Ligue des droits de l'homme, 1898-1945. Stanford, Calif: Stanford University Press, 2007.
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10
Petite histoire du magazine Vu (1928-1940): Entre photographie d'information et photographie d'art. Bruxelles: PIE Peter Lang, 2010.
Find full textBook chapters on the topic "Theater France Paris History 20th century"
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Plancher, Gaën, and Pascale Piolino. "Virtual Reality for Assessment of Episodic Memory in Normal and Pathological Aging." In The Role of Technology in Clinical Neuropsychology. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190234737.003.0015.
Full textAbstract:
Memory is one of the most important cognitive functions in a person’s life. Memory is essential for recalling personal memories and for performing many everyday tasks, such as reading, playing music, returning home, and planning future actions, and, more generally, memory is crucial for interacting with the world. Determining how humans encode, store, and retrieve memories has a long scientific history, beginning with the classical research by Ebbinghaus in the late 20th century (Ebbinghaus, 1964). Since this seminal work, the large number of papers published in the domain of memory testifies that understanding memory is one of the most important challenges in cognitive neurosciences. With population growth and population aging, understanding memory failures both in the healthy elderly and in neurological and psychiatric conditions is a major societal issue. A substantial body of evidence, mainly from double dissociations observed in neuropsychological patients, has led researchers to consider memory not as a unique entity but as comprising several forms with distinct neuroanatomical substrates (Squire, 2004). With reference to long-term memory, episodic memory may be described as the conscious recollection of personal events combined with their phenomenological and spatiotemporal encoding contexts, such as recollecting one’s wedding day with all the contextual details (Tulving, 2002). Episodic memory is typically opposed to semantic memory, which is viewed as a system dedicated to the storage of facts and general decontextualized knowledge (e.g., Paris is the capital of France), including also the mental lexicon. Episodic memory was initially defined by Tulving as a memory system specialized in storing specific experiences in terms of what happened and where and when it happened (Tulving, 1972). Later, phenomenological processes were associated with the retrieval of memories (Tulving, 2002). Episodic memory is assumed to depend on the self, and involves mental time travel and a sense of reliving the original encoding context that includes autonoetic awareness (i.e., the awareness that this experience happened to oneself, is not happening now, and is part of one’s personal history).