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Artykuły w czasopismach na temat "Académie Royale de Médecine (France)"
Risse, Jacques, i Marc Gentilini. "Séance commune Académie d’Agriculture de France, Académie nationale de médecine". Bulletin de l'Académie Nationale de Médecine 192, nr 4 (kwiecień 2008): 691–92. http://dx.doi.org/10.1016/s0001-4079(19)32775-x.
Pełny tekst źródłaPilet, Charles. "Réunion franco-marocaine Académie du Royaume du Maroc—Académie nationale de médecine". Bulletin de l'Académie Nationale de Médecine 193, nr 7 (październik 2009): 1671–74. http://dx.doi.org/10.1016/s0001-4079(19)32454-9.
Pełny tekst źródłaMartin, Jean-Pierre, i Anita McConnell. "Joining the observatories of Paris and Greenwich". Notes and Records of the Royal Society 62, nr 4 (21.10.2008): 355–72. http://dx.doi.org/10.1098/rsnr.2008.0029.
Pełny tekst źródłaFauque, Danielle M. E. "An Englishman abroad: Charles Blagden's visit to Paris in 1783". Notes and Records of the Royal Society 62, nr 4 (13.10.2008): 373–90. http://dx.doi.org/10.1098/rsnr.2008.0041.
Pełny tekst źródłaTésio, Stéphanie. "Climat et médecine à Québec au milieu du 18e siècle". Scientia Canadensis 31, nr 1-2 (23.01.2009): 155–65. http://dx.doi.org/10.7202/019759ar.
Pełny tekst źródłaSIMON, JONATHAN. "Retrospectives: History of science in France". British Journal for the History of Science 52, nr 4 (27.11.2019): 689–95. http://dx.doi.org/10.1017/s0007087419000645.
Pełny tekst źródłaDaniels, Barry. "Scene Design at the Court of Louis XIV: The Work of the Vigarani Family and Jean Berain. By Frederick Paul Tollini. Studies in Theatre Arts 22. Lewiston, New York: Edwin Mellen Press, 2003; pp. 137; 34 illustrations; 6 color plates. $109.95 cloth." Theatre Survey 45, nr 2 (listopad 2004): 314–15. http://dx.doi.org/10.1017/s0040557404380269.
Pełny tekst źródłaLasfargues, Gérard. "Séance commune Académie nationale de médecine (France) Academia Nacional de Medicina (Brésil) Jeudi 14 mai 2009 à Rio de Janiero". Bulletin de l'Académie Nationale de Médecine 193, nr 5 (maj 2009): 1209–10. http://dx.doi.org/10.1016/s0001-4079(19)32513-0.
Pełny tekst źródłaCapron, Loïc. "Un miroir du mépris : Guy Patin contre Théophraste Renaudot (1638-1648)". Acta Universitatis Lodziensis. Folia Litteraria Romanica, nr 15 (30.12.2020): 123–37. http://dx.doi.org/10.18778/1505-9065.15.09.
Pełny tekst źródłaTorres Lepecki, André. "Critical Gestures: Writings on Dance and Culture. By Ann Daly. Middletown, CT: Wesleyan University Press, 2002; pp. 320. $19.95 paper." Theatre Survey 45, nr 1 (maj 2004): 137–39. http://dx.doi.org/10.1017/s0040557404310082.
Pełny tekst źródłaRozprawy doktorskie na temat "Académie Royale de Médecine (France)"
Charton, Fabrice. "« Vetat Mori » : une institution au service du Prince, de la Petite Académie à l’Académie royale des Inscriptions et Belles-Lettres (1663-1742)". Paris, EHESS, 2011. http://www.theses.fr/2011EHES0030.
Pełny tekst źródłaIn 1663, Jean-Baptiste Colbert, Superintendant of the King’s Buildings, gathered a small team composed of members of the Académie Française: the petite Académie was born. Entrusted with the responsibility of writing the history of the Roi Soleil (Louis xiv) in tokens, inscriptions and medals, it soon became an essential actor of royal propaganda. In 1701, it was institutionalised and became the Académie Royale des Inscriptions et Belles Lettres (Royal Academy of Inscriptions and Letters). In the early 18th century, the institution started to add some finer historical studies to its panegyric task. The Académie, a royal institution, then became a reflection of the figure of the Lettered Prince. It thus became an essential link in the Republic of Letters. The way this academy functioned during a century reflects a changing world, between the values of the Grand Siècle (17th century) and the innovations of the period of Enlightment in the 18th century
Rivet, Elisabeth. "Etude du premier prix distribué de 1720 à1792, par l'Académie royale des Sciences de Paris, le prix Rouillé de Meslay d'astronomie". Paris 7, 2000. http://www.theses.fr/2000PA070128.
Pełny tekst źródłaThe aim of this study is to try to better define the requirement which had to be met for the awarding of the first prize of the Académie royale des sciences de Paris, and the motivations of its founder, Jean Baptiste Rouillé de Meslay. The subject is so wide that it would be of little use to attempt to reduce it to a small size booklet. This work is therefore limited to a description and analysis of the various phenomena involved in the awarding of this prize during the period 1720-1792. It details: the lawsuit brought against the Académie by the legator's heirs, the elaboration of the rules of procedure concerning this prize, the financial management of the Rouillé de Meslay fund, the involvement of the academicians themselves in the various activities relating to this prize, the way of diffusing the topics subject to consideration, the evolution of the number of candidates and their identity, the topics of the essays and their analysis, the impact of the prize on the development of the sciences in the 18th century. The development of the Rouillé de Meslay prize during that century - either by the subjects under consideration or by the contents of the prize-winning essay - is closely linked to the acceptance in France, of Newton's ideas. Ten annexes to be found at the end of the last part of this study summarize the main above mentioned ideas. Based on a set of documents mainly preserved in the department of archives of the Académie des sciences, this study has also benefited from the collections available at the Archives départementales d'Eure-et-Loir, the Archives nationales, as well as of those of the library of the Observatoire de Paris and of the Bibliothèque nationale de France
Delaunay, Bernard. "La pensée technique de l'Académie Royale des Sciences (1699-1750)". Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010637/document.
Pełny tekst źródłaAs an institution of the absolute French Monarchy first founded in 1666 and later "renewed' by royal decree in 1699, the "Académie Royale des Sciences" brings together the best scientific minds of the Eighteenth Century. Becoming a major player in the technical field did not represent an obvious task for a scientific Academy. The present thesis analyzes how and why such an action came to be while measuring its importance. Starting with an examination of inventions and moving on to technical studies, taking into consideration technical assessments as well as the descriptions of currently employed techniques, we see the emergence of a new type of operational thinking characterized by the rule of technology. Once established during the first half of the 18th century, such a conceptual régime enables a new relationship to develop between science and techniques. Progressively abandoning the current techniques with the aim of studying new techniques and uncovering the principles and causes of their functioning rather than merely describing the latter, the Academy thus began to apply the methods of early modem science to techniques. Gaining currency in ever wider circles, this way of thinking was both taught and shared in new places. Hence technical training moves from transmission and apprenticeship to a specifically French way of training engineers scientifically. During this period special links are established between the Academy and military engineering schools as well as with a school of "practical mathematics” founded in Reims. Those scientists who first endowed technical thinking with a scientific outlook will in tum give way to engineers who become scientists
Suberchicot, Jean-Luc. "Le service de santé de la Marine Royale (1661-1793)". Paris 4, 1998. http://www.theses.fr/1998PA040010.
Pełny tekst źródłaLunel, Alexandre. "L'organisation des professions médicales sous l'Ancien régime : entre corporatisme et autorité royale : XVIe siècle-XVIIIe siècle". Paris 2, 2004. http://www.theses.fr/2004PA020017.
Pełny tekst źródłaCachau, Philippe. "Jacques Hardouin-Mansart de Sagonne, dernier des Mansart (1711-1778)". Paris 1, 2004. http://www.theses.fr/2004PA010548.
Pełny tekst źródłaVigroux, Perrine. "Les femmes à l'Académie royale de peinture et de sculpture (1663-1793) : sociabilité, pratique artistique et réception". Thesis, Montpellier 3, 2016. http://www.theses.fr/2016MON30030.
Pełny tekst źródłaFifteen women artists will be admitted to the Royal Academy of Painting and Sculpture between 1663 and 1793. Sincethe Renaissance, Europe and France, a small number of women enjoys a certain reputation both nationally andinternationally, in arts, literature and science, thus opening the way for new talent. These women are particularlyencouraged by the philosophical theses of Francois Poulain de la Barre (1647-1723) which will enable them to occupy amore privileged in a society that crystallizes around lounges. They are small and scholarly meetings where artists invitehome men and women to discuss literature, philosophy, art but also politics. These very popular places with greatsuccess in the late seventeenth century and throughout the eighteenth century. The reception of the first women to theAcademy is in this climate quite favorable to women both socially and culturally, and politically.But this admission only remains precarious. Indeed after the entry of Catherine Perrot, January 31, 1682, it will takealmost forty years, October 26, 1720, that is again admitted a painter Rosalba Carriera. Certainly, they open the doors ofthis institution, but they are nonetheless excluded from many activities and many privileges. They do not have the rightto attend classes of the living model - which poses naked - yet fundamental lessons in teaching promoted by theAcademy, nor to compete with great prices, yet in the heart of the system emulation in fact the academicians will neverhave access to positions of responsibility. Yet they have helped to reinvent the French artistic landscape and especiallythe portrait genre. Advocating natural, they helped to renew the female locker room with more light and gauzy outfits.Badly perceived by critics, these new shirts called saplings, took part in the simplification of official portraits. At thesame time, the feminization of court portraitists offer greater opportunities to women painters. Pushing the limits stillfurther, they succeeded through portraits to invest storied history painting, genre reserved for the most accomplishedpainters and good command of anatomy.Their contemporaries through their writings or artistic works proposed an idealized image, faked sometimes deceivedthese academicians. talented women, ambitious women, academicians still managed to impose a new vision of thewoman painter
Guillin, Marjorie. ""L'anéantissement des arts en province ?" : l'Académie royale de peinture, sculpture et architecture de Toulouse au XVIIIe siècle (1751-1793)". Thesis, Toulouse 2, 2013. http://www.theses.fr/2013TOU20080.
Pełny tekst źródłaThe Royal Academy of Painting, Sculpture and Architecture of Toulouse was founded in 1751 by royal letters patent. Until its termination by a Convention decree on 8th August 1793, it has been the only art academy outside Paris of that stature ever. In the 19th century, the French art historian Philippe de Chennevières-Pointel, an active advocate of provinces, presented it as a showcase of thriving guardian of regional arts that balanced the centralizing and inhibiting Paris' Royal Academy of Painting and Sculpture. Leveraging a rich corpus of documents and illustrations, most of them undescribed to this day, this study sheds a brand new light on the Toulouse Academy: its origins, the details of its rise, its daily teachings, its shortcomings and its achievements
Chastagnol, Karen. "La seconde génération des peintres de Louis XIV (1665-1715) : peindre l'Histoire : formation, culture visuelle et production". Thesis, Lille 3, 2014. http://www.theses.fr/2014LIL30035.
Pełny tekst źródłaThrough which terms History painting is changing under the reign of Louis XIV? History painting evolves during the period which covers the second part of the reign of Louis XIV. This change is due to modifications dependent on the evolution of the Royal commissions and of the Academic framework itself, as well as the transformation of the context of creation apart from the Royal Academy which renews the way of apprehending and conceiving the History painting. From the study and analysis of the works of History painters members of the Royal Academy of Painting and Sculpture between 1673 and 1694, this thesis reconsiders the criteria of evolution of historical style in painting at the turn of the XVIIe Century. To begin with, the artists’ training and the definition of History painting at that time shall be discussed (I). Then we shall analyze the production of these painters for the Royal Academy and for the King after their approval within the Royal institution (II). Furthermore, in order to define better the History painting characteristics at this time, the study of the works for private individuals and religious institutions (i.e. apart from the Royal Academy) will question the historiographic vision which claims that History painting comes from a crisis; it will also clarify its new ways of transformation, in particular through the hybridization of styles (III)
Manceau, Nathalie. "La mise en mots de l'oeuvre d'art : les écrits de Baillet de Saint-Julien et la genèse de la critique d'art en France au XVIIIe siècle". Paris 10, 2009. http://www.theses.fr/2009PA100130.
Pełny tekst źródłaThe purpose of this paper is to study the first documented art review published in the press and in brochures on the exhibitions by the Académie Royale de Peinture et de Sculpture at the Salon du Louvre. Greater emphasis is given to the work of Guillaume Baillet de Saint-Julien (1726-1795) who wrote texts on several “salons” as well as the first French poem on painting. Through research into archives, it was possible to piece together his biography and career as both a critic and collector who particularly appreciated drawings, engravings and French paintings. His “salons” are set against those of his contemporaries (La Font de Saint-Yenne, Gougenot, Laugier, Estève, Fréron, etc. ) as well as articles printed in the Mercure de France and the Journal de Trévoux to give both an overall and specific account of the origins of art reviews around 1750. This text focuses on the way in which works of art are translated into words and how judgment is expressed. Reviews are not transparent reflections of the work and consist of many diverse and contradictory dimensions. The authors use artistic discourse, follow the literary expectations of the time (while rejecting any form of erudition) to improve their position in society. The Baron de Saint-Julien was following his personal ambitions at a time when laymen were taking an interest in fine arts, much to the dismay of the Académie. Fascination with works of art does not include the artist whose role is minimised while critics use various strategic arguments to legitimise their positions. These new texts are written by non-specialists for laymen who crave greater ownership of these works of art through oral and written assessment
Książki na temat "Académie Royale de Médecine (France)"
Müller, Arno. 1083 members of the French Académie de Médecine =: 1083 Mitglieder der Franzòsischen Académie de Médecine. Waldmohr: A.P. Mùller, 1994.
Znajdź pełny tekst źródłaDepambour-Tarride, Laurence. "Naissance de l'Académie royale de musique": Musique et pouvoir : communication faite à la séance du 17 mai 1995 [de l'] Académie des beaux-arts. Paris: Palais de l'Institut, 1995.
Znajdź pełny tekst źródłaSchöller, Wolfgang. Die " Académie royale d'architecture" 1671-1793: Anatomie einer Institution. Köln: Böhlau, 1993.
Znajdź pełny tekst źródłaMcClellan, James E. (James Edward). Specialist control: The Publications Committee of the Académie royale des sciences (Paris), 1700-1793. Philadelphia, PA: American Philosophical Society, 2003.
Znajdź pełny tekst źródłaStroup, Alice. Royal funding of the Parisian Académie royale des sciences during the 1690s. Philadelphia: American Philosophical Society, 1987.
Znajdź pełny tekst źródłaAcadémie nationale de médecine (France). Index biographique des membres, des associés et des correspondants de l'Académie de médecine, 1820-1990. Wyd. 4. [Paris]: Académie de médecine, 1991.
Znajdź pełny tekst źródłaBenhamou, Reed. Regulating the Académie: Art, rules and power in ancien régime France. Oxford: Voltaire Foundation, 2009.
Znajdź pełny tekst źródłaScience under control: The French Academy of Sciences, 1795-1914. Cambridge: Cambridge University Press, 1992.
Znajdź pełny tekst źródłaChristiane, Demeulenaere-Douyère, Brian Eric i Institut de France. Académie des sciences, red. Règlement, usages et science dans la France de l'absolutisme: A l'occasion du troisième centenaire du règlement instituant l'académie royale des sciences, 26 janvier 1699. Actes du colloque international organisé par l'académie des sciences de l'institut de France, Paris, 8-10 juin 1999. Paris: Lavoisier, 2002.
Znajdź pełny tekst źródłaWeisz, George. The medical mandarins: The French Academy of Medicine in the nineteenth and early twentieth centuries. New York: Oxford University Press, 1995.
Znajdź pełny tekst źródłaCzęści książek na temat "Académie Royale de Médecine (France)"
Bertucci, Paola. "Introduction: Savants, Artisans, Artistes". W Artisanal Enlightenment. Yale University Press, 2017. http://dx.doi.org/10.12987/yale/9780300227413.003.0001.
Pełny tekst źródłaMacsotay, Tomas. "Epicurean tastes: towards a French eighteenth-century criticism of the image of pain". W The Hurt(ful) Body. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9781784995164.003.0007.
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