Tesis sobre el tema "Second XIXe siècle"
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Carnino, Guillaume. "L'invention de « la science » dans le second XIXe siècle : épistémologie, technologie, environnement, politique". Paris, EHESS, 2011. http://www.theses.fr/2011EHES0071.
Texto completo"Modern science", being both pure and applied, emerges in France at the very beginning of the second industrialization, and replaces the prior "natural philosophy". Its prestige expands through various activities: World fairs, freethinkers, popular science, arts & literature, school, patent rights. . . This practical and theoretical reorganization of knowledge , is firmly connected to the structure of industrial production: scientists study in details craftsmen's "know-how" to create reproducible procedures for manufacturing. Reputed neutral and objective, science ideologically binds the progressive base of the French Third Republic: thereafter, any opposition to environmental, technological or social changes catalysed by this new regime is treated as a dangerous attitude hiding reactionary thoughts secretly rooted in a backward political agenda. Secular resistance to sacred science is subsequently considered inaccurate and excluded from the political sphere, in the same way as the religious beliefs Galileo battled with are mocked as false. Therefore, science must not be any more considered as an epistemological question, but rather as a intrinsically contradictory institution (since it is issued from a social compromise): attempts to theorize it as unified and non-historical concept always trigger the same conflicts that prevailed to its birth
Delattre, Alexandra. "A contretemps : le roman catholique français du second XIXe siècle : histoire et poétique". Thesis, Nice, 2016. http://www.theses.fr/2016NICE2014.
Texto completoThis dissertation explores the constitution of the Catholic novel as a genre in the second half of the 19th century. It aims to show how Jules Barbey d’Aurevilly, Joris-Karl Huysmans and Léon Bloy were misread, partly because of the success of the genre during the 20th century. The popularity of the 20th-century Catholic novelists such as Claude Mauriac or Georges Bernanos has indeed swept away the difficulties encountered by Catholic writers over the course of this anti-clerical period. This work invetigates the reception of the Catholic novel at that time. It is based on historical researches, especially the study of Christian "bibliographies", Catholic press and edition. This provides a better understanding of Barbey d’Aurevilly, Huysmans and Bloy’s conception of Catholic novel as an original theory of art
Barillé, Claire. "Soigner et guérir : des hôpitaux pour les travailleurs parisiens dans le second XIXe siècle". Paris 10, 2007. http://www.theses.fr/2007PA100198.
Texto completoFunctions of hospitals in Paris change throughout second half of the nineteenth century. Architecture, management methods and medical progress are the main fields of this mutation. Studying hospitals publics and related diseases is a mean of revealing the increasing role of hospitals among the city of Paris. Before the first world war, hospitals are not anymore what they used to be in the Ancien Regime. They display yet a medical and social function for the masses. As the field of medicine moves forward, so does the use of hospitals, furnishing proof that such progress was understood by at least a part of the population, whose confidence in the institution that is the modern hospital grew concomitantly
Kang, Sanghoon. "L'originalité de l'architecture religieuse au XIXe siècle en France : les églises parisiennes sous le Second Empire". Paris 1, 2001. http://www.theses.fr/2001PA010586.
Texto completoCorne, Henriette. "Représentation de la haute société dans le roman français : romain mondain au XIXe siècle (Second Empire)". Nice, 1985. http://www.theses.fr/1985NICE2015.
Texto completoNizard, Lucie. "Poétique du désir féminin dans le roman de moeurs français du second XIXe siècle (1857-1914)". Electronic Thesis or Diss., Paris 3, 2021. http://www.theses.fr/2021PA030078.
Texto completoThe representation of female sexual desire in the novel of manners of the second half of the 19th century raises critical issues – it highlights the paradoxes at play in the second half of the 19th century, torn between contradictory representations of women, as either sexually haunted creatures or virgin mothers ; it informs us about the construction of masculine and feminine gender roles ; it makes us reflect on the scandals, past and present, caused by the desiring female body and the gaze cast upon it ; it interrogates the poetics of this literary genre as well as its claims to objectivity. The ambition of the novels analysed here is a comprehensive account of reality, with a claim to scientific rationality. And yet, when they deal with female desire, they indulge in a form of stylistic veiling that requires the reader to unpack the meaning. The purpose of this thesis was to analyse this veil of words covering female bodies, in order to lay bare the mechanisms behind the mendacity. The socio-critical method makes it possible to show the interactions between the novels and the various social discourses of their time – medical, religious, legal or even pedagogical – and thus to reveal a complex and coherent social imagery of female desire, whose stereotypes the novel both upholds and thwarts. In literary texts, scientific theories morph into poetic material, and double entendre becomes an art. These oblique erotic representations turn the descriptions of female desire into a minefield of innuendo, mostly developed by and for men. Some novels, however, already make room for a female voice and gaze of desire, sometimes even beyond gender
Léger, Celine. "La fabrique médiatique de l'événement au XIXe siècle : Jules Vallès, écrire et faire l'histoire (1857-1870)". Thesis, Lyon, 2017. http://www.theses.fr/2017LYSES034/document.
Texto completoThe work of Jules Vallès falls within the confluence of history, literature and the media in an exemplary way. It sustains a narrow proximity to the upheavals of its time. It thus appears to present an ideal outlook from which to analyse the way of writing the event. Yet, apart from the Paris Commune, the event as such has been overlooked by Vallesian critics. Between 1857 and 1870, that is to say during the Second French Empire, what exactly constitutes an event in the fullest sense of the word for Vallès? Far beyond the historical dates generally deemed important, how does his vision of what makes or does not make an event lead him to reshape the history of his time?Assuming a deliberate perspective of demystification, the “major event” and the “notable factˮ are firstly considered cultural artefacts, both repudiated but also partly reproduced by Vallesian writing. And yet, far from being only an artificial construction – a historical, literary and/or media illusion – the event can be a real and concrete upheaval. Therefore, it can be defined by a destructive impact, its creative strength at the heart of everyday life, or by a fruitful virulence which would be the prerogative of language. Vallès, thus questions the ambiguity that characterizes the violence of his time, depending on whether his contemporaries react against it or reinvest it through verbal or artistic means. But the events turn out to be even more a metonymic tool serving a heuristic method that explores the history of the 19th century. Personally (re)lived, they structure a self-portrait of the writer-journalist in chiaroscuro. They thereby enable the reporter to testify on present events to the reader, resolutely committed to the experiences related. Finally, by induction they reveal a difficult and unfair society: thereby a militant history takes shape, shifting and subverting the common hierarchies, and explaining and reassessing the accepted structures
Gautheron, Marie. "L’invention du désert : émergence d’un paysage, du début du XIXe siècle au premier atelier algérien de Gustave Guillaumet (1863-1869)". Thesis, Paris 10, 2015. http://www.theses.fr/2015PA100039.
Texto completoThe desert has not always been equated with as landscape – not until the end of the 19th century was it viewed as a geographic notion. From the Middle Ages down to the 19th century the word “desert” covered a great many acceptations, including a moral state, dereliction, a particular spiritual practice – and any physical space in a state of wilderness or abandonment. This work looks into the early painting of Gustave Guillaumet (1840-1887), an artist instrumental in inventing the desert. Guillaumet’s work centered on Algeria and the Sahara, where he stayed several times. Five major paintings, dating from 1863-9, are analysed from a genetic approach; they are also compared with the painter’s own artistic evolution and with his writings (1879-1887/ Tableaux algériens). This work intersects with the study of the representation of the desert as a by-product of the socio-political, scientific, intellectual and artistic background to the paintings, which spanned the period from the early days of the conquest and of the colonisation of Algeria to the end of the Second French Empire. The many sources that thus came under scrutiny included philology, literature, scientific works, declassified military documents, the press, painting, photography and illustrated books and magazines. This investigative work rests on the study of the sources of the imaginary world of the desert, which encompass the emergence of a formalised conception of landscape at the end of the 15th century, the aesthetic approach to arid lands and to the communities that they sustained at the end of the 18th century, and the cristallisation of this novel landscape in the 19th century. This work hypothesises that the invention of the desert is a palimpsest, as the birth of the landscape-desert in the late 1860s coincided with the persistence of the pre-formalised conception of landscape. Through the study of a corpus that praises the regions and traditional cultures of Algeria while equally voicing the dereliction of communities and landscapes, this works aims at shedding light on the sources of the contemporary representations of the desert
Yang, Yin-Hsuan. "Les salons caricaturaux au XIXe siècle : des origines à l'apogée". Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100004.
Texto completoThe Salon caricatural was a comic review consisting of caricatures of art works exposed at the Salon. The first Salons caricaturaux appeared in the early 1840s, and it was under the Second Empire that this type of parodic review reached its height, obtaining success in the illustrated satirical press. Under the pretext of humor, this critique in images provided an efficient method of judging art, working in counterpoint to written art criticism. The critical issues proposed by this comical imagery were in fact the products of debates on the relationship between image and text, as the three 1846 models reveal. Conscious of contemporary artistic currents in art, Salon caricatural cartoonists often played multiple roles; at times inoffensive mocker, at times serious critic, and at times exposing artist. These parodic reviews reflected not only the characteristic reaction of the bourgeois public, but also on occasion the personal tastes and aesthetic judgments of the cartoonists themselves with respect to contemporary works of art. With art in a major period of transition during the Second Empire, the Salon caricatural actively participated in the reception of art through a sarcastic format that translated both the distaste for the declining classical school and the rejection of innovative forms, notably those of Courbet and his realism. This humorous and peculiar version of art history also provides a new perspective to the history of art criticism
Vaxelaire, Marie-Emilie. "Mellerio dits Meller, histoire d’une maison de joaillerie parisienne au XIXe siècle (1830-1870)". Paris 4, 2009. http://www.theses.fr/2009PA040082.
Texto completoThe Mellerios are French jewellers originally from Italy. Thanks to the grant of a royal decree by the Regent Marie de Medici in 1613, the Mellerios ancestors benefited from the following privilege to ‘wear and sell cut crystal, ironmongery and other trinkets’ throughout the French Kingdom. Even though their small jewellery business prospered around the end of the 18th Century, it was at the start of the 19th Century that the Mellerios were fully settled in Paris. Their business reached its peak, from an economic and artistic view point, between the July Monarchy and the Second Empire. Their business succeeded not only in adapting to the fashions of the day but in setting the trends. Studying this family business leads us to touch upon all questions relative to the history, the types, techniques and methods of designing jewellery, as well as the stylistic evolution and the artistic influences of the Mellerios throughout 1830 – 1870, the most revealing and productive period for their firm
Bolz, Lisa. "Le journalisme au second degré : l’émergence de la dépêche télégraphique d'agence comme nouveau format d’écriture dans la presse française et allemande du XIXe siècle (1849-1870)". Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL017.
Texto completoIn the mid-nineteenth century a new writing format emerged that quickly spread across the newspapers: the agencies’ telegraphic dispatch. What is this unprecedented, modest-looking object that would have such an impact on journalism? The news agencies are mainly economic actors whose sole purpose is the maximization of their profits, and who have close relationships with the governments in France and in Prussia. They are not even close to the journalistic ideals that were shared by eighteenth century media men. At the same time, the telegraphic dispatch represents a way of writing in journalism that can be considered as innovative and modern. The telegraphic dispatch is at the intersection of conflicting fields – politics, economics and journalism – and develops between the international and the national level, as a cross-cultural object that imposes itself on different journalistic cultural contexts. The telegraphic conquest of space as well as the acceleration of communication are the major features of the telegraphic text. The three parts of this thesis – writing the international, imagining the telegraph, organizing the network – discuss this relation between place and time from different perspectives. To approach the essence of the telegraphic poetics, we examine the dispatches from different angles: the telegraphic territory and the representation of what is supposed to be “international”, the imaginary of technology and the human’s interaction with it, as well as the circulation of the information and the writing procedures within the agencies’ network
Simon, Clélia. "Style, culture et société. La sculpture religieuse en France de la Restauration à la fin du Second Empire (1820-1870)". Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040206.
Texto completoBetween 1820 and 1870, the State and the French cities are implementing - using a great budget - a massive order to fill the churches with monumental sculptures to serve a liturgical and educational purpose. The first part of this study examines the synoptic approach to religious sculpture of the nineteenth century, through the major programs. This leads to an overall view of a chronological evolution complicated by changes in expectations and ambitions and therefore to be aware of the status of cultural frontispieces that churches had acquired trough sculpture. This study also shows the prominent places that Christ and the Virgin generally occupy within these carved sets. The liturgical space initiated by the Restauration inherits expiatory dimension from the Revolution and the Empire. This pain mixed with hope and faith guided the execution of the Virgin and Child, crucified Christs and Pieta, giving them a decisive liturgical function. The period finally knows, in terms of hagiographic representation, a surprising abundance. The third part examines the numerous representations of the saints as a mean used by the restoration of religion to foster an intercessional relationship that has always been strong in France. Hence, a triple dialogue is highlighted: one between artists in time, one between subjects in the theological and theocratic imaginary, and one between forms in the overlaps - sometimes surprising - of stylistic genealogies
Casas, correa Maribel. "L’architecture théâtrale en France de la Révolution au Second Empire : théorie, innovation, réglementation, réalisations". Thesis, Université Paris-Saclay (ComUE), 2017. http://www.theses.fr/2017SACLV098.
Texto completoTheatre architecture in France fromFrench Revolution to Second Empiretheory, innovation, legislation, constructionAt the dawn of the Revolution, a vague of theatrical constructions embraces France. The impulse which had been given under Louis XV to theatres bear now fruit. Furthermore, despite the opposition of the Church, the French society expresses a real enthusiasm for spectacles that one will later call “theatremania”. During the whole nineteenth century, theatres occupy a privileged position in the cultural and social life in France. The theatrical buildings contribute to crystallize the ambitions of the attended public. By consequence, theatres are an object of thinking, weather it is on the level of architectural theory, or on the level of innovation. Representing a typology of public buildings which host a very numerous and a very diversified public, the theatre becomes a privileged space of experimentation, in terms of public health as well as in terms of techniques. The noise pollution which accompanies its integration within the city, and the numerous fires that destroy a lot of theatres across Europe, lead the public administration to regulate more and more the functioning of theatres, to a point that these new regulations have an enormous impact on the architectural development of theatres.In this context, the theatrical architecture of the first half of nineteenth century takes several aspects which this work explores in order to illuminate the rise of the so-called theatre « à la française », of which Garnier’s Opéra de Paris will become the most prominent example
Vottero, Michaël. "La peinture de genre en France sous le Second Empire et les premières années de la Troisième République 1852-1878". Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040259.
Texto completoThe Second Empire coincides with a time of important changes and jumble of pictorial categories at the Salon. History painting becomes scarce in comparison with genre painting. Public opinion is then torn between the decadence of the French school and the glory of contemporary creation. Linked to Reaslism, anecdote and colourful rendering, genre painting is willing to give an evocation of everyday life. These paintings, though generally considered as minor creations, are ennobled by State purchases in 1848, and by those of the Imperial couple after that, thus illustrating the public’s keen interest for funny, moving, sometimes enlightening scenes. Influenced by social sciences, political reforms and literature, the genre painter offers a new vision of every day life. For many critics, genre scenes are a reflection of their ideals, and appear to be the archetypal art of the Second Empire, the only one which will enable their time to go down in history with the correct rendering. By freeing the artists from stranglehold of history and religion, genre painting enables them to consider the pictorial technique more freely and even to revolutionize it, like the impressionists who multiplied contemporary scenes. A reflection of the tastes of an era, the genre scene of the Second Empire illustrates also the unprecedented rise in the marketing of art. The bonds that exist between genre painting and the regime under which it knows its greatest success probably explain the reaction which followed the 1870 war which gives back to France its great History painting, abandoning the “easy” subjects which ruled under the previous regime. This thesis attempts to rehabilitate painters and pieces fallen into oblivion but nowadays appearing to be important for the understanding of a time’s taste, that of the Second Empire
Kharrouby, Amina. "La création dramatique sous le Second Empire : questions d'argent". Thesis, Lyon, 2018. http://www.theses.fr/2018LYSE2141.
Texto completoUnder the reign of Napoleon III, theatrical plays representing the theme of money and finance fill the parisian repertoires thanks to numerous comedies, vaudevilles, dramas, operettas, melodramas and parodies. Several playwrights such as Ponsard, Dumas fils, Augier, Labiche, Clairville, Lubize or Sardou take on stage the question of gain and business by taking an interest in all its material, legal, moral or social components : inheritance, marriage of interest, dowry, misalliance, speculative affairs, gambling, greed, exploitation and misery How to justify such a dramatic profusion ? The socio-economic situation (industrial development, creation and development of the rail and banking system), as well as the political decisions taken in the cultural field (decree of January 6, 1864 on the liberalization of theaters) did they influence theatrical production at this period ?Our study will seek to shed light on the money of the theater (in the theatrical institution as well as in the life of the shows through the study of the report of the actor, the author and the director to this question) and on money in the theater (thematic, dramatic, linguistic and scenic treatment of this problem). Could the obsession with money in plays be explained by the importance of the economic of the stage ? New prisms - imperial censorship for example - will also be sought in order to grasp other dimensions of this issue and to question the existence of political opposition to these representations
Brambilla, Alberto. "Edmondo De Amicis et la France (1870-1883) : contacts et échanges entre littérature italienne et littérature française à la fin du XIXe siècle". Phd thesis, Université de Franche-Comté, 2011. http://tel.archives-ouvertes.fr/tel-00951573.
Texto completoBenini, Romain. "Chansons dites « populaires » imprimées à Paris entre 1848 et 1851,approche stylistique et métrique". Thesis, Lyon, École normale supérieure, 2014. http://www.theses.fr/2014ENSL0966.
Texto completoThe main goal of this research is to study 19th Century song through the prism of the popular. During the first half of the 19th Century, both objects (song and the popular) seem to become interdependent, with each contributing to the representation of the other. Since no fixed definition can be provided for the popular, a contextualized understanding of this notion is preferred. Its association with the genre of song, which has become almost obvious nowadays, was analysed based on a digitalized corpus of more than 600 texts selected according to historical, bibliographical and discursive criteria. After positing the importance of the text in the study of song and justifying the selection criteria for the corpus, we discuss the notion of the popular at the time period under scrutiny, we assess this denomination in relation with the corpus and we observe how songs construct a representation of their interdependence with the people. Our stylistic approach accounts for the texts’ singularities but it also assesses how valid the notion of auctoriality is for songs printed between 1848 and 1851 and discusses the situated and dynamic representation of authorship. Analyzing texts according to their authors casts light on the issues of circulations, common elements and recurrences in the corpus. In a writing context where some elements are available for all the actors, common elements can be used to mark how a textual production belongs in a specific discursive domain (that of popular song writers in our case). Metrical analysis is a decisive methodology to analyse what appears as the collective character of these forms and the semiological complexity of song writing. It allows us to identify massive recurrences in the corpus, to clarify the practice and perception of verse writing in synchrony and to account for the heterogeneity of less frequent configurations as well
De, L'Isle Gilles. "Arthabaska et son élite, seconde partie du XIXe siècle". Thèse, Université du Québec à Trois-Rivières, 1991. http://depot-e.uqtr.ca/5407/1/000587546.pdf.
Texto completoChlanda, Dorota. ""Tempus edax rerum" ("Le temps rongeur dévore tout", Ovide) : le voyage sur ses propres pas dans les écrits du prince Henryk Lubomirski". Thesis, Lyon 2, 2015. http://www.theses.fr/2015LYO20150/document.
Texto completoThe purpose of the thesis « Tempus edax rerum » (« Le temps rongeur dévore tout », Ovide). Le voyage sur ses propres pas dans les écrits du prince Henryk Lubomirski is to approach the question of the second journey and the repercussions of the comeback to the same places on the author's perception. These problems are undertaken through the careful lecture of a number of up-to-date unknown manuscripts: that is, prince Henryk Lubomirski's travel diary and the correspondence with his adoptive mother Izabella Lubomirska, as well as others testimonies.In the preliminary part of the research, it was necessary to define the second journey, which for the purposes of this study, is a real experience of the already-visited. The very repetition of the itinerary allowed to discern the differences in the perception of landscapes, places of interest and historic monuments, all due to different factors; among which are someone's real life experience which form, modify and vary the traveller's sensibility. This in turn made possible an attempt to investigate the specificity of the doubled or renewed look apart from the underlying reasons, such as journey destination, motivation of the traveller, and the biography of the latter.The first part presents the history of the second journey, tracing it back to the Middle Ages, when it was a very uncommon phenomenon, and concluding with the French Revolution which is the moment of a sudden change, putting an end to one kind of travelling and giving way to another experience related to new sensibility, deriving from revolutionary upheaval. Thus, the study attempts to reveal particularity and universality of the second journey in the post-revolutionary era.This in itself is looked at through the lens of Goethe's peregrination across Italy and Chateaubriand's comebacks to Rome and London. In their texts the repetition evokes different emotions. Goethe being disappointed, in his account the new impressions drive away the old ones. Thus, for him the value of the second journey is based on erasing. Chateaubriand, on the other hand, draws a parallel between different times of his life as he observes the accumulation of sensations. The accounts of two Polish travellers from the period complete this historical section.In the second part are approached prince Henryk Lubomirski's biography and the circumstances of his second journey. In particular, his cultural background is taken into account as well as his adoptive mother's influence on his upbringing. She accompanied him in his Grand Tour in 1789-1780 and later on, in his maturity, assisting him in the task of the Polish cultural heritage protection.In 1811 he and his family leave Geneva because of his wife health problems. The stay in the South of France was planned to help her in her recovery and finding mental equilibrium. The journey takes place across post-revolutionary France where traces of atrocities are still clearly visible. The prince describes meticulously itinerary, means of transport, accommodation and events he attends. He writes down prices and practical information. He is particularly fond of landscapes he looks at with new sensibility, characteristic for the period. The sublime search, reflexions on the relation between nature and the states of soul and the fragility of the human fate multiply in the relation.The third part is related to memory and its different dimensions: individual, collective and national. We note that there is no innocent perception, it is always tinged with author's personal history. The memory lets the traveller read again places already visited and triggers memories. Thanks to its affective activity it converts neutral places into symbols of the pleasant, allowing the traveller to succeed in his perennial quest of recovering the world that no longer exists and finding himself back
Jourdin, Sophie. "La culture des tissus végétaux, de la seconde moitié du XIXe siècle au XXe siècle". Paris 7, 2009. http://www.theses.fr/2009PA070061.
Texto completoThe history of the plant tissue culture in the second half of the XIXe century at the XXe century shows the evolution of many aspects of the evolution of plant biology and physiology, to understand how to control the vegetable parts, their needs and their capacity to survive isolated and in artificial conditions. Beyond an historical work on the development of these cultures - in the United States, in Germany and in France -the thesis is an epistemological study of the evolution of the representation of the theoretical conceptions on the potentialities of the cell and its limits. Moreover, this study insists on the very empirical character of the development of these experimental methods. We emphasize that the cultures are objects of study while being instruments of this research in biology; we study also the very close links with the physiology of the nutrition and the cellular division, implying the question of the vegetable hormones and engaging the concept of cell itself. This history being related to the genetics, biochemistry, cytology, and after the second world war, molecular biology, the study of the cellular cultures is an original problematic for studying the important transformations of contemporary biology
Tauzin, Isabelle. "Le roman féminin péruvien pendant la seconde moitié du XIXe siècle". Poitiers, 1990. https://hal.science/tel-01325604v1.
Texto completoA study about the novels published by the women of Peru after the pacific war. The first part of the study shows the literary life of the 1850-1880 period when the women take their first steps in intellectual life : they write a lot of short stories, poems, tales. In the second part, women discover realism and naturalism, then they write novels. These novelists were : Mercedes Cabello de Carbonera (1845-1909); Clorinda Matto de turner (1852-1909); Lastenia Larriva de Liona (1848-1924); Teresa Gonzalez de Fanning (1836-1918), Maria Nievres y Bustarrante (1865-1947) ; margarita Praxedes Munoz (?). In this study all the novels are carefully considered on many levels : manner of writing , arrangement o elements and ideology. The novels give us a view of the Peruvian people and a picture of the women's ideology of the ruling class at the end of the nineteenth century
Kirschleger, Pierre-Yves. "Approches de l'apologétique chrétienne dans la seconde moitié du XIXe siècle en France". Montpellier 3, 2005. http://www.theses.fr/2005MON30034.
Texto completoDuring the 19th century apologetics tried to defend the faith and the Christian beliefs against new attacks : the expansion of materialism and positivism, the progress of sciences, the development of the critical and independent exegesis (which famous example is Life of Jesus of Ernest Renan (1863). . . Although Renan and fellow rationalists maintained that they represented true philosophy, Christian apologists waren't incompetent and their discourses not obsolete: they presented reasoned arguments and refutations of the rationalist speculations. The confrontation with the culture of the time is sometimes difficult but fertile: the apologists are developing a moral demonstration of the Christian truth. The autor analyses the french apologetic discourses, theories and methods in the second half of 19th century, the works of Pastor Edmond de Pressensé (1824-1891) and of the catholic magistrate Auguste Nicolas (1807-1888)
Kurt, Williams Cigdem. "Réécrire Molière en Turquie à l'âge des réformes : seconde moitié du XIXe siècle". Thesis, Strasbourg, 2015. http://www.theses.fr/2015STRAC008.
Texto completoIn the second half of the nineteenth century, Molière's comedies were seen as a fertile source of material for Ottoman playwrights eager to bring new ideas to the popular dramatic arts and to create a new form of national theater. This dissertation concentrates on two primary ways that French theater was transmitted to the theater-going public in the nineteenth century : First, plays that traveled in their original language ; and secondly, translations and adaptations of the French plays most popular at the time. This dissertation aims to analyze Molière's theater in all the complex ways it was transmitted throughout the Ottoman Empire during the Age of Reforms. This dissertation proposes a new perspective on the history of modern Turkish theater, underlining the transformation that the popular dramatic arts went into in the midst of the growing popularity of Molière's theater in the capital and the effect of French theater stars coming to what was a lively and cosmopolitan Istanbul
Gaudreau, Guy. "Les concessionnaires forestiers québécois de la seconde moitié du XIXe siècle: essai de typologie". University of Ottawa Press = Éditions de l'Université d'Ottawa, 1988. https://zone.biblio.laurentian.ca/dspace/handle/10219/109.
Texto completoMarin-Porta, Brigitte. "Cosmopolitisme, promiscuités et mélanges dans la littérature de la seconde moitié du XIXe siècle". Paris 3, 2000. http://www.theses.fr/2000PA030048.
Texto completoTchorek, Denis. "La transcription en France dans la seconde moitié du XIXe siècle : l'exemple d'Alexandre Guilmant". Thesis, Tours, 2012. http://www.theses.fr/2012TOUR2003.
Texto completoMusical transcription was an extremely widespread practice in 19th-Century France. This thesis will focus on its use as a mean of accessing the original artwork, through the outstanding contribution in this field of composer and organist Alexandre Guilmant, between the years of his early professional activities in the 1850s until the eve of his death in 1910. Although transcription is by no means confined to the 19th-Century, it flows through all of musical creation and lies at the heart of the aesthetic design of the artwork – to the point of bringing into focus many issues related, among others, to listening, to amateur and professional practice, to the emergence of a literature both specific and adapted to intellectual property. Guilmant’s case, studied against his socio-artistic background, illuminates the transcriber who, feeding on the extreme mobility of music, is impregnated by classical and antique styles, updates selected works, and so contributes to the development of an exemplary repertoire. Transcription appears as the mediator of a culture and capable of supporting the development of historical consciousness
Ringuedé, Yohann. "Une crise du moderne : science et poésie dans la seconde moitié du XIXe siècle". Thesis, Paris Est, 2018. http://www.theses.fr/2018PESC2203/document.
Texto completoThe links between scientific knowledge and poetry during the second half of the 19th century are complex. Whereas literary history has downplayed its importance for a long time, the dialogue between those two entities wavers between scientific and poetic modernities. And yet, the multiple and contradictory forms of that dialogue, both conflictual and fraternal, turn out to be symptomatic of an era in crisis, where poetry as well as scientism seemed to be running out of steam. Stylistic analysis – systematically informed by the historical context – and epistemocritic allow to tell the parallel story of an hidden modernity: while the modern poem claims increasing autonomy, while science tends to specialize so much that it is no longer communicable, the dialogue between science and poetry, far from disappearing, becomes more complex. The poet is no longer satisfied with thematically exhibiting elements of knowledge, according to previous models of Lucretius and Jacques Delille. The influence of science becomes deeper and more structural: the poem borrows its scientific language to express the anxieties of the lyrical subject, poetics enters the laboratory of experimentation. As a result, the impact of science on poetical work, albeit underground, plays a determinant role in the innovative reformulations of the poetry of the second half of the 19th century. Two modernities then observe each other, sometimes turn away from each other, sometimes intersect. The story of this difficult cohabitation is what this study has attempted to uncover
Houssein, Abdi Yassin. "La côte continentale du Pertuis Breton, du début du XVIIIe siècle à la fin du Second Empire : évolution et aménagement du littoral depuis la Tranche-sur-Mer jusqu'au nord de La Rochelle". Electronic Thesis or Diss., La Rochelle, 2023. http://www.theses.fr/2023LAROS013.
Texto completoBetween the beginning of the 18th century and the end of the Second Empire, the continental coast of the Pertuis Breton experienced a significant evolution. It is composed of three singular, dynamic and correlated geomorphological landscapes: a marshy area, a dune zone and a cliff coast. These environments underwent slow natural transformations which led to the creation of the sandy spits of Arcay and Aiguillon which form a large dune belt. The latter is fed by a considerable transport of sand from west to east by littoral drift. These sediment movements are subject to the influence of hydrodynamic agents. The rise in oceanic waters leads to the progressive clogging of the Gulf of the Pictons with sediment of fluvio marine origin. This process is at the origin of the formation of the Aiguillon Cove and the Poitevin Marsh. These environments also go through brutal natural transformations due to extreme climatic phenomena. This study also highlights the role of human influence in the evolution and modification of their coastline. Developments are particularly visible in the Marais Poitevin. Between the Middle Ages and the 19th century, this territory was the focus of a major transformation that greatly modified its ecosystem. This wetland was drained by the creation of canals, dykes and locks. Thanks to the draining carried out by the marsh companies, agriculture and livestock farming flourished and gradually replaced the flooded lands, which were considered unsanitary. The marshes then experienced an influx of people. The State is present on this coastline through the Admiralty under the Ancien Régime or the administration of the Ponts et Chaussées in the 19th century
Nakamura, Hiroko. "La connaissance et l'interprétation de Hokusai en France dans la seconde moitié du XIXe siècle". Paris 1, 2006. http://www.theses.fr/2006PA010524.
Texto completoMeldolesi, Tommaso. "Sur les traces de Benjamin Gastineau, littérateur révolutionnaire de la seconde moitié du XIXe siècle". Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA081/document.
Texto completoBenjamin Gastineau’s work was written between 1845 and 1880. Gastineau wrote some theatre pieces, long and short novels, historical and social essays, and newspaper articles. He was influenced by Enlightenment philosophy and connected with Socialist and Republican thinkers. Gastineau considers his writing as a way to join people, and to give him an education, on following the principals of bourgeois moralism. Only in this way, people – he says – will have the possibility one day to make French Revolution again, and establish favourable conditions for the whole society, where justice, freedom and happiness could be guaranteed for everybody. Our work permits, thus, on the one hand, to investigate on diffusion of knowledge though newspaper articles and works written for popular readers. On the other hand, it permits to consider the political engagement of this writer, since the coup by Napoleon the 3th, passing through the Commune of Paris, and until his defence of the Communards when he was exiled in Brussels. In addition, Gastineau express his position against the abuses and the corruption of Roman Church and shows how women are its main victims. The rule of woman in XIX society takes part of a larger speech concerning social critics and including hell, medieval faith and the degradation of habits. As men have obtained intellectual and material freedom against the obligations impositions caused by religion that men could keep on walk together towards future; a material future represented by railway journey that takes men all over the acquisition of new spaces, real as well as imaginary ones, and of a new reality to build on following principals of peace, justice and freedom
Sermadiras, Émilie. "Religion et maladie dans le récit de fiction de la seconde moitié du XIXe siècle". Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL051.
Texto completoThis dissertation analyzes fictions that, in the second half of the 19th century, illustrate the idea that "sickness is the natural state of a Christian". The elective affinities between religion and pathology interest both realist or naturalistic novelists (such as Émile Zola, the Goncourts, Alphonse Daudet, etc.), whose polemical view aims at demystifying or even medicalizing beliefs, as well as catholic writers (Barbey d’Aurevilly, Léon Bloy, J.-K. Huysmans, Émile Baumann), who emphasize the spiritual meaning of physical afflictions. The parallel between fictions that are all based on the spectacle of a sick believer, but engage contrasting writing styles and currents of thought, shows how much literature crystallises the debate that is going on at the time about Christianism. It also uncovers a point of commonality between writers that critics are used to consider under the restrictive perspective of their opposition. This study aims to highlight the mutual influences that link together several writers who, beyond their differences, base their representation of religious feelings on the same pathological imaginary and the same poetics of incarnation. We argue that the renewal of religious feelings, whether it's in an apologetical or critical perspective, relies on the description of a body which suffers pain, sickness or mysterious psychophysiological disorders. Ultimately, the body conveys considerations about faith, Christian ideology and beliefs and ecclesiastic institutions
Drouin-Hans, Anne-Marie. "Gestes et physionomie : problèmes posés par la conceptualisation du geste signifiant : seconde moitié du XIXe siècle". Paris, EHESS, 1989. http://www.theses.fr/1989EHES0308.
Texto completoThe purpose of this research is rediscover the conditions which prepared, in the second half of the ninetenth century, the rise of a scientific understanding of human gestures. Human gestures are defined in this work as including all the corporeal signs (postures, mimics, expression of emotions. . . ). The authors analysed come from different fields of knowledge (physicians, naturalists, psychologists, anthropologists, artists. . . ), but while they weave a network through their mutual quotations, they chart a new scientific object, whose name is not yet coined, and which overlaps what is now called "non verbal communication". The issues raised by these authors can be broken down into three sets: - semiological problems: where is the origin of signification; is the signification of gestures universal; what are the relationships between mind and body. -methodological problems: classifications of emotions and gestures. - epistemological problems: according what criterions some texts are included in the "network" while some others are not. The gap between the laters and the formers lies in their attitudes towards knowledge more than in their intrinsic contents
Zerouali, Karima. "L’image de l’Algérie dans les récits de voyage anglais de la seconde moitié du XIXe siècle". Thesis, Cergy-Pontoise, 2017. http://www.theses.fr/2017CERG0870.
Texto completoThe Image of Algeria in the English Travel Writings of the Second Half of the XIX CenturyThe present study aims at exploring in the light of Edward Saïd’s theory of orientalism the image of Algeria and the Algerians in a set of English travel writings of the second half of the XIXth century, Through Algeria, A Winter in Algeria, Algeria as it is and The New Playground; or, Wanderings in Algeria respectively by Mabel Sharman Crawford, Mrs. G. Albert Rogers, George Gaskell and Alexander Andrew Knox .The study examines the nature of the representation of the other as produced by these English travellers who spent a winter in the former Ottoman regency which had become a French colony since 1830. The study is divided into three main parts which deal respectively with the historical context of the XIX century, the travellers and their travel writings and the other’s representation. The study reveals a stereotyped representation due to the background of the orientalist discourse.Key words: travel writing- orientalism- representation- otherness- Other- Algeria- exoticism
Penot, Agnès. "L'internationalisation des galeries françaises durant la seconde moitié du XIXe siècle : l'exemple de la maison Goupil (1846-1884)". Paris 1, 2012. http://www.theses.fr/2012PA010696.
Texto completoLecuppre, Gilles. "La seconde vie des rois : l'imposture politique dans l'Occident médiéval (XIIe-XVe siècle)". Poitiers, 2002. http://www.theses.fr/2002POIT5009.
Texto completoPatierno, Alvio. "Le théâtre français à Naples dans la seconde moitié du XIX siècle". Saint-Etienne, 2008. http://www.theses.fr/2008STET2126.
Texto completoPresenting french prose theater in Naples between 1860 an 1900 involves not only illstrating the specific traits of the italian mania for all things french, the prestige of french literature in the world and the dramatic arts in that historic period, but also to place these phenomena in the historical, political, sociological and cultural context of a country which had experienced the fall of the Bourbon Kingdom of Laples before proceeding with its own unification and the slow process of modernization. Naples transformed itself from being the capital of a kingdom to being a regional capital, but il neverless could boast of the largest number of theaters on the peninsula, while its dialect theater was independent and parallel with respect to the international circuit. Research for information regarding french works performed in the 40-year period was conducted in sources such as archives, newspapers, magazines and posters, which were compared to information found in a vast bibliography, allowing for the verification of dates through a dua historical-textual approach. The objective of this research, which provides an overall view, is to uncover and explore the true dimensions of the french colonization of theater in Naples and to provide an analytical repertoire of authors and works that were popular with audiences and critics for different reasons. Among the widespread prejudice and little-known details, it has been possible to evaluate the effective influence and the importance of thse theatrical works, vaudeville shows and dramatic pieces overall, on the dramatic evolution of italian theater in general and on napolitan theater in particular
Tenin, Ester. "Le récit de la création picturale dans la littérature française du XIXe siècle". Doctoral thesis, Università degli studi di Padova, 2011. http://hdl.handle.net/11577/3421663.
Texto completoLa presente tesi verte sull’analisi di un filone del romanzo francese dell’Ottocento che ha al suo centro il tema della creazione pittorica e, in particolare, del fallimento del pittore. Tale tema è già stato interpretato dalla critica come una delle risposte che il letterato oppone all’allontanamento delle due arti sorelle – pittura e letteratura –, dovuto all’eclissi della secolare dottrina dell’ut pictura poesis. Questo lavoro intende dimostrare come tale principio teorico sopravviva anche dopo la pubblicazione del Laocoonte di Lessing (1766), l’opera cui tradizionalmente viene fatta risalire la definitiva separazione tra gli ambiti della creazione letteraria e di quella pittorica. È proprio nel romanzo incentrato sulla creazione pittorica che il presente lavoro identifica il terreno su cui il principio dell’ut pictura poesis in realtà continua a prolificare, almeno nei suoi tratti essenziali. Tra questi ultimi sono stati individuati e analizzati in particolare l’opposizione tra disegno e colore, e la supremazia della letteratura sulla pittura. Per quanto concerne la querelle du coloris, in questa tesi si dimostra che gli stereotipi attribuiti al colore nel corso di tale diatriba hanno contribuito alla formazione, all’interno delle opere analizzate, di uno stretto legame tra l’elemento cromatico e il demoniaco o la follia. La capacità di dare la vita, da sempre attribuita al colore, viene così relegata alla produzione di vere e proprie ossessioni del creatore. L’altro caposaldo dell’ut pictura poesis, ovvero la supremazia dell’arte letteraria su quella pittorica, viene indagato attraverso diverse piste d’analisi. Esso è stato innanzitutto ricercato nei rapporti che il pittore protagonista intrattiene con il proprio autore e con gli altri personaggi dei testi analizzati. Si è quindi evidenziato, secondo studi critici precedenti, come il pittore costituisca l’alter ego del suo creatore, il quale espia le proprie pulsioni pericolose attraverso la mise à mort della sua creatura. Il confronto tra i personaggi ha messo in luce la frequente presenza, accanto al pittore protagonista, di una figura, anch’essa artista, pittore o letterato, che si pone come guida e mediatore tra il personaggio principale e il suo pubblico, essendo quest’ultimo incapace di comprendere e accettare le innovazioni apportate dal protagonista nell’ambito della propria arte. Tale figura d’intermediario riunisce il nuovo ruolo di critico d’arte che il letterato si è ritagliato nella società moderna e la sua antica funzione di guida del pittore, testimoniando al contempo una nostalgia letteraria dell’antica egemonia della poesia sulla pittura. Inoltre, questo stesso personaggio rappresenta un’ulteriore emanazione della personalità dell’autore, ma, in questo caso, non più dei suoi tratti oscuri, bensì di quelli più rassegnati e socialmente accettabili. Di conseguenza, nel corso della trattazione non solo si riconosce una velata superiorità del personaggio-guida – ovvero del personaggio-scrittore, quando presente nella narrazione –, ma si propone inoltre di sostituire il termine comunemente utilizzato di alter ego, con Altro Es, da attribuire al protagonista, e Altro Io, corrispondente al personaggio-guida. La persistenza dell’idea della supremazia della letteratura sulla pittura viene rinvenuta anche nell’ambito delle scelte stilistiche degli autori, oltre che in altri aspetti significativi dei romanzi analizzati, che riflettono chiaramente la rivalità tra le due arti. Esse sono infatti costantemente messe in contrapposizione attraverso le figure dei loro rispettivi rappresentanti fittizi o, in alcuni casi più complessi, mediante una sorta di competizione tra il pittore e il suo stesso creatore, cioè lo scrittore, che attua così una mise en abyme.
Honda-Ishii, Midori. "Le japonisme en France dans la seconde moitié du XIXe siècle : la rencontre de l'Occident avec l'Orient". Paris 5, 2007. http://www.theses.fr/2007PA05H008.
Texto completoThe principal objective of this thesis is to analyse the way in which Japonisme constructs itself in France from 1850s to 1900. The thesis also examines the traces that Japonisme has left in the history of Occidental art, with the hypothesis that such a phenomenon is not contingent: rather, Japonisine is a necessity in historical and artistic development. In other words, it is a product of what the French sought in the Japanese art : the traits that French art itself had already possessed. It bas been a long time since the Occident dreamt of the Oriental. One cannot be deceived by the affirmation that Japonisme was merely an exotic occurrence, having demonstrated that the Oriental and the Occident were mutually attracted even though they were conflicting in several respects. The officiai propagation of the country's image during the Universal Expositions had made possible the fabrication of Japonisine. One will thus understand the political strategy that Japan had attached to such circulation, and how it had exhibited an image of itself. Japanese traditional art and its relation to the quotidian brought forth much French enthusiasm. As such, the thesis will study the way in which such enthusiasm responded to Japanese art, expounding on the writings of art critics, in particular Ernest Chesneau and the Goncourt brothers. Furthermore, the thesis analyses the way in which French art was influenced and transformed by Japanese art in the works of three prominent artists. Namely Toulouse-Lautrec, Paul Gauguin and Henri Matisse
Băluţă, Ionela. "Du "harem" au "forum" : réflexion sur la construction d'une nouvelle identité féminine dans la seconde moitié du XIXe siècle roumain". Paris, EHESS, 2005. http://www.theses.fr/2005EHES0062.
Texto completoThe dissertation examines the building of a new identity of Romanian women that belonged to the "upper" society during the period of nation-building and modernization according to the Western model. The methodological approach combines political sociology and historical sociology. Moreover, the specificity of the object of study requires both an interdisciplinary approach and the multiplication of methods and sources of analysis. The utilization of the concept of gender requires analyses at several levels : ideology, norms, and subjective responses, two key-elements of the new social philosophy, vital for the re-composition of social identities and generators of new hierarchical axes : the re-instauration of the social order and the strive for national unifiction. These two processes became the leading sources for elaborating the ideal model of the bourgeoisie : respectability and notherhood structure attitudes, define morality and the legitimate configuration of the body
Castets, Jean. "Des ouvriers de la Société des hauts-fourneaux et fonderies de Givors et leurs familles dans la seconde moitié du XIXe siècle". Lyon 2, 1995. http://www.theses.fr/1995LYO20046.
Texto completoThe survey is meant to discuss the form of social integration of an iron and steel metallurgy labour force located near lyons in the second half of the 19th century. Three families' generations of a sample of workmen and employees have been reconstituted. In an environment where the social mobility is known beforehand as being limited, the attention has been focused on the internal hierarchy within the workers. The professional identity of the steel workers seem to be the result of concrete work situation and denominative pratices of workers' groups concerned with social recognition. The accesses to the self-command or to non-manual work are fairly difficult. The escape or rather the improving arrangement of the working condition relies on the small shop, very seldom the workshop where the worker in his own master. Hence the workers' concern to grade themselves in the working hierarchy. These hierarchies seem to be the essential means for the workers' dignity to be recognized. The working and residence mobilities depend on a familial and inter acquointance network, mainly regional. This network is kept up by matrimonial alliances and mixes country and urban people. The picture of a sound society rises from the survey because within this very society the process of becoming part of the workers is progressive. The "resistible decline of a rural society" may be witnessed
Paturzo, Mariagrazia. "Il conto nella letteratura francese del XIX secolo". Paris 4, 2003. http://www.theses.fr/2003PA040004.
Texto completoOur work traces an historical perspective of the genre of the conte through the presentation of lots of texts of the 19th century, and considers the characteristics which make the conte a particular literary genre, different from the nouvelle. Always keeping in mind that the conte and the nouvelle are almost inseparables in the 19th century, our dissertation aims to present the different kinds of contes existing in this century and, at the same time, to meditate on the idea of conte as a specific genre. Our dissertation is made up of three different parts, namely the Introduction, the General Part and the Conclusions. The introductive part retraces the iter of the short story from the Middle Ages up to the 17th century and also proposes some definitions of conte and nouvelle given by dictionaries of different periods. The General Part proposes an historical as well as literary perspective of the genre of the conte in its different aspects through the analysis of more than a hundred collections of contes of the 19th century. It also analyses the role of the conte in the reviews (ch. V) and in the mélanges (ch. VI) of that age. The Conclusions are entirely consecrated to the reflections on the idea of the conte considered as a specific literary genre, enouncing the theories proposed in the 19th century by Gœthe, Edgar Poe, Baudelaire and Marcel Schwob, and also proposing a definition of the conte in the 19th century through the three categories of Form, Subject and Message
Baudon, Laurence. "Des enfances meurtries : le personnage d'enfant en Angleterre et en France dans la seconde moitié du XIXe siècle". Toulouse 2, 2003. http://www.theses.fr/2003TOU20066.
Texto completo"Bruised children" call to mind the glance about a new character into novels in the nineteenth century : the character of suffering children in France and in England. This study approachs literary movments (realism, naturalism, popular literature) and sets the child's statuts up according to a double viewpoint : the child in society, the child as a person. Child working, stray child along the roads and into the towns are representations of a new glance of novelists about a social class which was not, until now, approached in fiction : the ordinary people. Social structures and family life allows novelists to write about the personal statut of the child, wether he maintains himself against exploitation, wether he becomes a victim of social or family opression. The study is ending with personality of children who are daring to refuse social or family exploitation, children we'll find again in the fiction of the twentieth century
Lagrange, Marion. "Les peintres italiens à Paris dans la seconde moitié du XIXe siècle (1855-1909) : l'affirmation d'une identité picturale". Bordeaux 3, 2004. http://www.theses.fr/2004BOR30064.
Texto completoReffait, Christophe. "Le roman de la Bourse dans la seconde moitié du XIXe siècle, généalogie et logique d'un discours romanesque". Paris 4, 2003. http://www.theses.fr/2003PA040130.
Texto completoThe Paris Stock Exchange was intriguing to 19th century writers. But as it stood for "the democratization of capital", it soon became a major source of controversy. After a period of heated debate (1854-1858) in which the press, comedies of manners and pamphlets played great role, the major theses then developed found their way into a novel of manners (1857-1890) that was widely opposed to the market place. The Stock Exchange was then viewed as the principal cause of the breaking p of ancient Régime society, this rhetoric being closely related to the rise of antiqemitism. While Zola's l'Argent (1890-1891) enhances a counter-notion of progress that evokes the American gospel of wealth as exemplified by Frank Norris and Theodore Dreiser, it also brings the political approach of economics to completion by showing that both democracy and the market place are ruled by abstractions
Ilef-Delahaye, Christa. "Le romanesque du voyage et la littérature de jeunesse en France dans la seconde moitié du XIXe siècle". Paris 13, 1995. http://www.theses.fr/1995PA131007.
Texto completoBased upon narratives of imaginary travels written for the youth in the second half of the nineteenth century, the thesis describes dhildlike ways of travelling and contributes to the study of representations. The typology of the places visited shows that the continental localization of the trips signifies, beyong their description, criticism of the culture of the traveller's country of origin. The scientistic preoccupations of the considered period turn tourists as well as journeymen and rebels into scietists and explorers. Moreover children's travels can be divided into two distinct groups : the line and the loop. Science plays an essential part in the differentiation of the narrative's typology, and transforms the way of the cross of the suffering child into a grand tour of science. Novels of the considered period show the emancipation of the child-hero and propose several patterns of political organization which move from the individual's moral formation to that of the citizen. In that sense, describing the world leads behong exoticism and constitutes a political act, contributing powerfully to the learning of democracy
Svanidze, Tamara. "Les transferts culturels européens en Géorgie dans la seconde moitié du XIXe siècle à travers la presse de l’époque". Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016INAL0007.
Texto completoThis dissertation aims to show in what measure the Georgian press of the second half of the nineteenth century, which constitutes a precious historical resource for study of this time period, allows us to follow the evolution of cultural transfers from Georgia to Europe and to understand the political and social profile of the Georgian mediators of these transfers. It manifests an interest in the discourses that accompany the introduction of modern living and technological progress in the country, in the reactions inspired by the European perspective on Georgia, and also in the experience that the Georgians bring back home after their travels in Europe. In fact, these travels allow them to observe European political and social life and to establish contacts with intellectual milieus in order to contribute, when they return to their country, to the success of the political projects with which they would identify. My work centers on the mechanisms that have made possible the flow of foreign cultural transmission in the fields of literature and science: the institution of an intellectual field, the elaboration of a new terminology, the establishment of selection criteria for foreign texts, and the establishment of discursive strategies facilitating the diffusion of such texts. In elucidating these criteria, which lead to the selection of European texts and authors or to the choice of references to Europe, I will analyze in what measure the transfers reflect a historical context characterized by the formation of a national consciousness and competing ideologies that, from the beginning years of the twentieth century, would lead Georgia from revolution to independence
Parsi, Caroline. "Crime d'honneur, crime d'horreur ? : les homicides en Corse dans la seconde moitié du XIXe siècle : pratiques, autorités et représentations". Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010659.
Texto completoUsing hitherto unseen and exceptional sources, namely the files from procedures of more than four hundred cases that were judged in a criminal Court by Judge Vincent de Caraffa (private collection in Bastia archives), we shall endeavour to study Corsican criminality in the second 19th century, in the interplay of its practices and their perception. The island reality demonstrates an impressive crime rate and shows that violence often – but not consistently – lies on honour. Corsican and French people in the 19th century could not be indifferent to the excessive scope and the particular nature of homicides – such as vendettas and banditry – in Corsica. Their speeches, those of the authorities as those of ordinary citizens, continentals or islanders, are far from being identical but they all contribute to the construction of a « Corsican case » at the end of the 19th century. Yet, the idea of an absolute singularity of criminal practices in Corsica may strongly be qualified as regards the existence of other more violent areas and other honor societies in France and in the Mediteranean Basin. If it is not truly proved by facts, the « Corsican case » nonetheless remains true, since it has been present in collective minds for a long time
Touré, Aboubacar. "L'impact des rivalités franco-britanniques dans la Mellacorée sur les populations locales dans la seconde moitié du XIXe siècle". Aix-Marseille 1, 1997. http://www.theses.fr/1997AIX10026.
Texto completoEngland replies an offensive mercantilism against the strict regime of the exclusive commended by france. Signed on 10 february to put an end to the anglo-french war, the treaty of paris gave the england the senegalese coast, where a few french trading posts and establishments were settled. The territory also entailed the south rivers and the mellacoree. From that former colonial territory, the island of goree was the only thing left for france. The expedition of egypt under the directorate and the breach of the peace of amiens, could not conceal the perverse effects of the abolition of slavery. Nevertheless, the 1814 and 1815's treaties allowed france to get back her former possessions : senegal and the south rivers (including the mellacoree). Then, the political leaders of the mellacoree had been invited to sign treaties of protectorate, that england and france proposed to them without worrying about each other's presence. During the succession war of moria, the protagonists took the opportunity to get involved in the clans' war which turned into a colonial war where french and english proponents and opponents fought against each other. This long war ended in 1890. The rivalties came to an end in favour of different arrangements that solved the litigious issue of the boundaries' demarcation. As a result, a policy to demantle the former principalities followed, whereas a new body of chiefs submitted to the colonial rule was being promoted
Rousseau, Marjorie. "Des filles sans joie : Le roman de la prostituée de la seconde moitié du XIXe siècle : Espagne, France, Russie". Thesis, Tours, 2014. http://www.theses.fr/2014TOUR2020.
Texto completoWhile prostitution was exploding within the cities, the character of the prostitute flourished in the second part of the nineteenth-Century literature. This new heroine quickly gets the leading part in a soon-To-Be proper literary fictional sub-genre, the “prostitute novel”, whose structure and motifs will be pointed out in our research. We will evoke medical, moral and social discourses about women and prostitutes in the 19th century in order to grasp the numerous roles this character can assume in literature. As a protagonist of the loss and deprivation, the prostitute questions the masculine vision of women, but she also embodies her time’s worries about the multiple social, economical and political transformations happening. She also holds a mirror to existential anxieties about the relationship to the Body, the Other and Death, and appears to be a privileged character for artistic and aesthetic considerations
Fartas, Nadia. "Modernité et simplicité : l'art de la nuance. Littérature et arts visuels en France dans la seconde moitié du XIXe siècle". Paris, EHESS, 2015. http://www.theses.fr/2015EHES0162.
Texto completoThe peculiarity of modernity is to integrate criticism in its foundations and to allow questions as well as knowledge development. Therefore, modernity cannot be dissociated from movement and change. Thus, it implies a new kind of social, political and cultural relationship beween the singular and the collective, the particular and the universal, a complexity which XlXth literature managed to testify. However, it is noteworhy that the notion of simplicity is at the centre of the preoccupations of founder authors of artistic and literary modernity. In Flaubert's works dealing with modernity, Baudelaire's written works on arts and in urban views, either literary, pictorial or architectural ones, for instance Monet's series of The Rouen Cathedral, the simplicity forms and meanings which are associated to them make it possible to put the forms of change in a conspicuous position in order to make up an aesthetics of modernity based on shade instead of on binarism or dogmatism. If simplicity refers to what cannot be broken down, the main features of shade are, indeed, grade differences which can hardly be detected. The art of shade which originates in a modern revaluation of simplicity holds together the defence of the beautiful, the singularity of the work of art, the attention to reality, knowledge and new temporalities in order to thwart aesthetization, in other words a conception of the beautiful that covers the features of modernity. Thus, shade shows a new relationship between the visual and the verbal, the text and the image, which brings up to date the knotting between poetics, aesthetics and politics at the heart of modernity