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Prevel-Montagne, Corinne. "La représentation des grands hommes dans la sculpture publique commémorative en Bretagne : 1685-1945 : les pratiques, les sculptures et les oeuvres". Rennes 2, 2003. http://www.theses.fr/2003REN20009.
Pełny tekst źródłaThe @public statutory represents a large artistic patrimony forsaken for a long time by history of art. In Brittany, on hundred and nineteen monuments have been erected to great men between 1685 and 1945. Initiatives from local councils or private commissions succeed to royal orders. They set up more democratic practices in the choice of the sculptors and the financings. In the end of the ninetenth century, the statue-mania, inspired by the egalitarian ideals of the Revolution, follows republican propaganda. In Brittany, its growth is rather slow til the Second Empire and reaches its golden age during the Third Republic in spite of some legitimist and religious oppositions. All sculptors come from Paris Academy of Art and produce conventional works inspired by David d'Angers. But in the early twenties, the emergence of regional culture give a new inspiration to this sculpture
Lecerf, Guy. "Le coloris dans l'art des jardins : théories en France et en Angleterre, 1820-1930". Paris 1, 1991. http://www.theses.fr/1991PA010644.
Pełny tekst źródłaDesfontaine, Muriel. "Aspects de la personnification de la Mort en Bretagne dans les arts et la littérature à travers les siècles". Rennes 2, 2003. http://www.theses.fr/2003REN20042.
Pełny tekst źródłaThis thesis is a study of different aspects of the personnification of death in Brittany (l'Ankou). It looks into the the characters of the celtic religion and of the Arthurian literature that could represent its ancestors. It also shows the influence that the theme of the gruesome within the Occident during the end of the Middle Age had on written culture in East Brittany, the area of contact and exchange that influenced the representations of death in Brittany. Death gets personnified in religious works : in missionary paintings, on cult statues and in canticles. It is also found within literature in breton language, as early as the time of middle-breton. Futhermore, it is found in breton popular drama, as well as in popular tales (third and fourth parts). Each literature style has cared personality of its own out the character. Death has as many features as there are works that feature it
Le, Tiec Patrick. "Mathurin Méheut (1882-1958), peintre de la vie". Rennes 2, 1991. http://www.theses.fr/1991REN20016.
Pełny tekst źródłaMathurin Méheut begins his career to illustrate articles in magazines and acquires national famous to exhibit in 1913, his five exhibitions will all notice by the general public. In his paintings, he sets off the animal's spontaneity, the beauty of the flora and above all artisans and traditions of his native country, Brittany which is his favourite subject. He paint too countrymen of south and south-west of France, Japan and Greece. Meheut is also decorator. He's collaborated with the national factory of Sevres and Henriot factory of Quimper; his crockerys often picture sea fauna and Brittany life. He's also taken a part in decoration of several steamers lines. At least, his arts works is known by his 40 illustrated books about the sea, the fauna and the craftsmen
Kellenberger, Sonja. "Pratiques artistiques et formes de la mobilisation politique dans la ville : une approche sociologique de quatre collectifs d'artistes-activistes à Paris et à Londres". Paris 10, 2004. http://www.theses.fr/2004PA100154.
Pełny tekst źródłaThe protest movements of the 90s comes along, in France as in other European countries, of the reactication of an original form of the political commitment based on the artistic intervention. The participation of artists highlights the aesthetic dimensions of the mobilization and reveals the contemporary stakes in the democratization of the art as well as the role of the urban environment in the collective action. The research interrogates this phenomenom in its artistic, political and urban dimensions and their interactions from an ethnographical work about four groups of activist artists in Paris and in London. The study of hybrid groups allows to understand the modes of mobilization , participation and organization which update the militant and artistic practices
Lefeuvre, Olivier. "Philippe-Jacques de Loutherbourg (1740-1771) : vie et oeuvre". Paris 4, 2008. http://www.theses.fr/2008PA040153.
Pełny tekst źródłaPhilippe-Jacques de Loutherbourg, born in 1740, died in London in 1812 was a multi-facetted artist with numerous passions. Above all a landscape painter, he was also a history painter, stage designer, inventor of a show that was a precursor of the Dioramas, but also a man who was passionate about the occult who abandoned painting for a time in order to become a healer. Trained in France by an Italian artist, Francesco Giuseppe Casanova, he began his career in Paris before settling permanently in London and all his life had a considerable reputation which disappeared quickly after his death. Despite several attempts at a rehabilitation, Loutherbourg is today forgotten. The reconstitution of his painted output and the establishment of an accurate biography has allowed the author to asses more fairly his place in the history of painting in the second half of the 18th and early 19th centuries. In considering his contemporaries’ attitude to his work, in particular his favourite genre, landscape painting and his approach to the art market of his time, the author has attempted to understand better this individual who in his time was considered to be essential
Motte, Edwige. "Iconographie et Géomorphologie : l’usage de représentations artistiques des rivages comme outil de connaissance de l’évolution du littoral". Thesis, Rennes 2, 2017. http://www.theses.fr/2017REN20036/document.
Pełny tekst źródłaThe shoreline is submitted to constant changes : its evolution results from both biophysical processes – swells, storms, ocean currents, meteorological factors –, and significant anthropisation, strongly accentuated during the last centuries. In France, on the coast of the Channel, variety and sumptuousness of types of coasts have aroused the inspiration of numerous artists, especially since the middle of the 19th century. Museums, archives, private collections possess precious records of the story of places. This research aims to reveal the informative value of artistic shoreline iconography to observe geomorphological evolutions of the coast. The first part contextualizes the general approach, setting out some essential theoretical considerations centered on modern geomorphology, the status of images in geography and a retrospective of the history of landscape pictorial representations. The second part concretely explores the foreseen potential of using artistic documents as knowledge sources at the scale of the French coasts of the Channel. From a limited corpus of art works, a methodology is developed. Finally, the third and last part of the work presents an application of the developed methodology in a precise context. The territory considered is the Rance estuary, with, as main issue, the identification and evaluation of architectural and sedimentological modifications that occurred in the coastline and foreshore. Results are released through a dedicated Website, which intends to be consulted, and eventually contributed, by a large public
Le, Guirriec Patrick. "Paysans, parents, partisans : l'ordre social dans une commune bretonne". Paris 10, 1985. http://www.theses.fr/1985PA100015.
Pełny tekst źródłaEl, Mortaji Mohammed SaÏd. "L'art islamique dans les musées français". Avignon, 2006. http://www.theses.fr/2006AVIG1049.
Pełny tekst źródłaLeguay, Jean-Pierre. "Vivre dans les villes bretonnes au Moyen âge /". Rennes : Presses universitaires de Rennes, 2009. http://catalogue.bnf.fr/ark:/12148/cb41468025t.
Pełny tekst źródłaRozé, Françoise. "Cycle de l'azote dans les landes bretonnes". Rennes 1, 1986. http://www.theses.fr/1986REN10096.
Pełny tekst źródłaMiyamatsu, Hironori. "Bourgs et bourgeois dans l'ouest de la France (XIe-XIIIe siècles)". Rennes 2, 1986. http://www.theses.fr/1986REN20015.
Pełny tekst źródłaTowards the middle of the eleventh century, the west France makes great strides. In the economic field, fairs and markets increase, and tolls are very frequently mentioned in the deeds of the late eleventh century. In collaboration with the monks, the castellans build villages, privileged territories in order to attract people and enlarge the urban centres. They invest these villages especially with a vocation of commercial centres. Near the castles and in the country villages are constructed without intermission up to the middle of the twelfth century. A nebula of villages appear in the cities and around some castles. The villages are not generally so wide that any church can not be built. After the construction of villages is approved, the works of construction and settlement are put in the hands of the monks. The jurisdiction and all the rights concerned with commercial activities in the villages belong to the owners of villages. So, the burgs make a territory of immunity. The burgesses are free and in principle dwell in the villages. A number of burgesses are farmers, but the burgesses who appear in the deeds are very often merchants or craftsmen. Towards the middle of the twelfth century, the burgesses who are dependent upon various lords are combined with the view to forming a new urban community. The properties of burgesses are situated generally in the parish or in its vicinity. Their properties are composed by pieces of ground and fragments of rights. The loan of money plays an important part in the accumulation of their wealth. Owing to this wealth, the burgesses pull themselves up to the same level of the knights, as witness of the judicial acts. On the other hand, they begin their social rise in the environment of the laic or ecclesiastical lords. But they do not try immediately to get in the centre of the municipal organisation, in a revolutionary way. They prefer enter judiciously in the municipality, above all by making use of the traditional institution of parish
Derrien, Dominique. "L'industrie et le commerce maritime du cuir en Bretagne au XVIIIe et dans la première moitié du XIXe siècle (v. 1700-v. 1830) : l'intégration d'une industrie et de ses acteurs dans l'espace économique français". Rennes 2, 2005. http://www.theses.fr/2005REN20006.
Pełny tekst źródłaLeather manufacturing appears as an old industry, mainly established in peripheral regions of France, along borders and seashores, as in the case of Brittany where it particulary expanded during the modern era. Nets as well as local and international links prove that tanneries belonged to the proto-industrial structures, although integrating various resources at the same time. Breton made leathers were sent all round the Atlantic ocean. They were then most of the time sold in Bilbao, Lisbon and as far as Portuguese colonies. Manufacturers and merchants made big fortunes through this activity. They stayed wealthy until the end of the "Ancien Régime" (1789), taking advantage of royal privileges which helped their products compete on the international markets. Though, while this industry was more and more attracted by sea trade, French monarchy gradually increased national norms and control proceedings, allowing for instance a few manufactures in Brittany to raise State subsidy. Not only did these experiences fail, but also tanneries were deeply affected when France was isolated by British maritime blockade throughout the Revolution and the Empire. If one could think that trade would take up again after the "Restauration" (1815), the manufactures never regained prosperity but started to decline, although they often survived as a significant part of Breton industrial landscape
Royer, Nathalie. "Le Marché de l'art en droit français, anglais et communautaire". Clermont 1, 2001. http://www.theses.fr/2001CLF10244.
Pełny tekst źródłaIn the last ten years, in the context of perfection of the European Union and of internationalisation of exchanges, the art market regulation undergone significant changes. Either, the traffic of cultural goods, the auctions regulation, the tax system and also the property rights applied to works of art sales have evolved
Groussard, David. "La gestion de l’eau dans les villes bretonnes aux XVIIe et XVIIIe siècles". Rennes 2, 2010. http://tel.archives-ouvertes.fr/tel-00505459/fr/.
Pełny tekst źródłaThrough this study, we shall go back to the water management in the urban areas of the seventeenth and eighteenth centuries, precisely at the time when a suspicious perception of the humid environment is developing. The historiographical approach of water has been evolving for almost thirty years and is fostered by contemporary issues. Water has fully become a research subject and the setting of Brittany is not neutral : its environmental, institutional and cultural characteristics play a key role in the elaboration of hydrological works. The situation evolved over the two centuries : on the local level, the major changes lie in the councils' management of the hydraulic equipments and the appointment of administrators to handle the urban affairs. The designing mission shifts also from craftmanship to engineering, and this change in the professional expertise of the designer entails repercussions on both the organization of the building site and the morphology of the equipment. This redefinition of the administrative and technical tasks influences the works' practicality
Clérivet, Marc. "La danse de tradition populaire dans les milieux ruraux de Haute-Bretagne : 19e-20e siècles". Rennes 2, 2010. http://www.theses.fr/2010REN20042.
Pełny tekst źródłaPopular arts and traditions are subject to studies in some european regions, especially in Brittany. Moreover has traditional dancing in western Brittanny been the research purpose of Jean-Michel Guilcher. This area is nowadays considered as ethnochoreology’s birth-place, since the publication of his thesis “La Tradition populaire de danse en Basse-Bretagne” in 1963. However, only traditional dancing in the Breton speaking area of Brittany is depicted. Thus was the present work carried out with this state of mind in this part of Brittany. Without the same ambitions regarding to the methodological and conceptual aspects, we tried to understand the nature of the practices, contexts, and social representations in line with the traditional dance in this gallo speaking area, from diachronic and geographic points of view. The nature of the catalogs indeed appear to be very heterogeneous, depending on the areas of this region, on the social structure of the rural environments that have been carrying them for the whole 19th and the beginning of the 20th century
Le, Goff Samuel. "Elites et pouvoir municipal dans les petites villes bretonnes au XVIIIème siècle, 1730-1788". Rennes 2, 2004. http://www.theses.fr/2004REN20007.
Pełny tekst źródłaWho rules the small brittany towns in the eighteenth century ? How did they were governed ? This is central theme of this study. The politcal power in these towns was a balance between judges aund city councils, these last institution took power over the judges arond the middle of the eighteenth century. In this study, we are going to discover the ruling of these cities councils
Somlette, Luc. "Contribution à l'étude hydrogéologique de la distribution et du devenir des nitrates dans les nappes de fissures, de l'échelle du périmètre expérimental à celle du bassin versant côtier : conséquences sur les ressources en eaux et la protection du littoral en Bretagne". Brest, 1998. http://www.theses.fr/1998BRES2021.
Pełny tekst źródłaAbsalon, Patrick. "La Légende d'Oedipe dans l'art en France au XIXe siècle". Strasbourg 2, 2001. http://www.theses.fr/2001STR20051.
Pełny tekst źródłaYven, Estelle. "Approche spatiale et territoriale des industries lithiques : Constantes et variantes dans l'occupation du substrat géographique et la gestion des matières premières lithiques au Mésolithique en Bretagne". Brest, 2004. http://www.theses.fr/2004BRES1002.
Pełny tekst źródłaThe following thesis compares occupation and technological analysis so as to check if the modalities of territorial and resource managements were submitted to synchronic and diachronic variability during the Mesolithic. Integration of data into an international context has allowed to discern structural systems. During ethnographic studies, identification of spatial structures have led us tu use field-walking. Every point of information was inventoried, and also defined in accordance with the technological characteristics of the knapped stones, so as to recognize their position in the "chaîne opératoire". The groups occupied graphs, defined in negative by non-occupied zones. These permanents traits in the structure of networks are poles apart from any variability in management of the geological potential. Starting at the middle Mesolithic, the changes testify to an adaptation of the resources of networks and a partition of territories, perhaps initiatory to a spatial competition
Bensoussan, David. "Les droites en Bretagne dans l'entre-deux-guerres : tensions et déchirements dans un monde catholique et rural". Paris, Institut d'études politiques, 2002. http://www.theses.fr/2002IEPP0015.
Pełny tekst źródłaLe, Moigne Roland. "Les plantes de Bretagne : étude de leurs noms vernaculaires dans quelques langues de l'Europe de l'ouest". Rennes 2, 1993. http://www.theses.fr/1993REN20028.
Pełny tekst źródłaThe precise identification of a plant known only by its common vernacular names sometimes poses problems : different forms may have identical names, while some have been known by several hundreds of names. The first task was to compile a list of vernacular names of plants from works in such fields as botany, ethnography, and folklore. This research took in 30 languages of western Europe and a total of 165 dialects, collecting together more than 60,000 terms. A number of programs were created especially to allow an analysis of the basic data (representing 3,5 megaoctets of memory). The second phase of the work consists of a critical analysis of the documents studied, taking into consideration printing errors, mis interpretations, incomplete etymological information, etc. Next, certain characteristics of the vernacular names are highlighted. The criteria used at the origins of the names, their early development, their geographical location, their different local variations with the passage of time, and their exact meaning. After this, certain problems are touched concerning the relation between the breton language and culture and the plant word: the exact definition of names used in the 'Leyde manuscript', the Myth of the 'golden herb', etc. In conclusion, this research sets out to clarify the meaning of the vernacular names of plants. Showing links of polysemy an polygeny, these names provide evidence of a great unity in terminologic practice in western europe vis-a-vis the plant world, and one which dates back a very long time
Quere, Bernard. "La communication scientifique et technique par les outils graphiques, de 1750 à 1850, dans le contexte de la Bretagne". Paris, EHESS, 2005. https://tel.archives-ouvertes.fr/tel-00012205.
Pełny tekst źródłaThis study focuses on the evolution and use of graphic tools in the relations between the conceivers and makers of technical objects and systems. It is based on an analysis of technical and scientific publications and books dealing with areas of activity such as shipbuilding, civilian architecture and mechanics. The study of that material published between 1750 and 1850 leads to considerations on the eye-draught, on perspective, on descriptive geometry and orthogonal projections. The choice of shipbuilding is an attempt to define the place of technical design as instrumental in description and construction. Design in the mechanical arts has been studied for the part it plays as a means of information, for its relevance in the description of the working and making of technological objects and systems. These considerations, initially limited to the context of Brittany, have been extended to the whole country; the language studied, being of universal value, couldn't be restricted within geographical boundaries. In order to give the study a sharper focus, the international dimension has deliberately been overlooked. The pluridisciplinary character of technical design has been pointed out, as well as the demands impllied in its implementation. Technical design is indeed connected to applied mechanics, physics, geometry and so on. . . The transcription of technical projects on blueprints becomes then a tool for the transmission of scientific and technical knowledge as well as for technical how-how. It is made use of by scholars and engineers in various areas of traditional and industrial production. The design is part of the contract between conceiver and maker. The evolution of the designer's art, with its underlying scientific and technical knowledge will also be touched upon here. Because of the extension of the areas of human production, it will be necessary to set up the training of the people involved, at all levels of skills. This study takes us to the treshold of Golden Age of technical design between 1750 and 1850, a prelude to age of the research consultancy with its now ubiquitous comuterised environment
Fily, Muriel. "Les monuments funéraires et les dépôts métalliques dans le paysage rituel de l’Âge du Bronze : l’exemple du centre-ouest de la Bretagne et du Finistère littoral (France)". Rennes 1, 2008. http://www.theses.fr/2008REN1S160.
Pełny tekst źródłaThe main objective of the study is to determine whether the relief is decisive in choosing the location of graves, Bronze hoards and isolated metal objects of the Bronze Age in central-west Brittany and in the Finistère coast (France). We attempt to understand the role of the landscape through its hills and valleys in the funeral and ritual world. Much information about the sites was compiled in a database, from ancient and recent discoveries. A location is proposed for each site. Numerous precautions have been implemented: taking into account a large sample quantity, successive treatment sites depending on the degree of certainty of their function, their date, the accuracy of the location, and relativization by statistics. Spatial analysis are made using a GIS. To the question of the determine role of relief in the choice of the establishment of graves, the answer is yes: a strong attraction for the high positions in landscape and a generalized rejection to the low ones is demonstrated. A preference for the dead lay in high areas of landscape has been observed in other countries of Western Europe. Beliefs and a certain conception of death should be shared by these people. To the question of the role of relief to burry the hoards and isolated metal objects, the answer is more nuanced: it is not the only factor. The burials and the hoards followed therefore different modes of establishment and should remain varied concepts and beliefs
Derrien-Courtel, Sandrine. "L'étude des peuplements subtidaux rocheux (flore et faune) du littoral breton permet-elle de contribuer à l'évaluation de la qualité écologique du littoral et d'en mesurer les changements dans le temps ?" Paris, Muséum national d'histoire naturelle, 2008. http://www.theses.fr/2008MNHN0026.
Pełny tekst źródłaSince 2003, 31 sites have been explored in situ within the framework of the REBENT monitoring network (Benthic Network) to follow the progress of subtidal rocky populations (flora and fauna) from the Breton littoral fringe. The description of these benthic communities is used, both qualitatively and quantitatively (biodiversity, density and distribution), to evaluate and then to measure the evolution of this habitat, in response to natural and anthropic pressures. We based our reasoning on this data and the recorded space-time evolutions in an attempt to identify, analyse and test several relevant biological elements, that we approached also in terms of functionality. The three principal stages were as follows: the development of a standardized protocol; the identification of relevant ecological indicators and a proposal of grids which allow us to contribute to the characterization of the ecological state of a site in comparison with natural and/or anthropic changes to various scales
Chen, Shu-Hwa. "Les Bohémiens dans l'art français au XVIIème siècle". Paris 1, 1994. http://www.theses.fr/1994PA010627.
Pełny tekst źródłaThis thesis is proposing un historic and iconographical study about bohemian in Europe and most particularly in the french society during the seventeenth century. We have divided our work into two distincthy parties, i. E. One side historic and sociological and the other side structhy iconographical. On the first side, we have proposed to study the history and the specificities about those mythical people through the historical and the literary statements. This typological study about bohemians in the ancient france helped us to understand the sources inspirations whose artists disposed. If they form groups or if they developped a personality of one's own, even as a leading or as a secondary person intergrated in the plastic arts which we have study in the second part. We have distinguished two big kind of works : profane works and religions. In one case or in another, the artist is using the most of times the bohemian figure with a moralizing objective. The remarkable presence of the bohemian in the iconography is mirrored the imaginaires and the spirituality of the occidenta societies at the seventeenth century
Louis, Marie. "L'art contemporain martiniquais de 1939 à nos jours : la naissance d'une histoire de l'art dans un contexte postcolonial". Electronic Thesis or Diss., Metz, 2009. http://www.theses.fr/2009METZ030L.
Pełny tekst źródłaIn 1943, René Hibran, French artist who had recently moved to Martinique states : « il n’y a pas d’art local ou si peu, si réduit dans ses manifestations ! ». Already four years ago, Father Delawarde did the same comment. However, in 2009, the art world has expanded considerably. A specific aesthetic developed far away from Western academism, plastic expression not stopping to fill out. Places of diffusion have opened and offer expositions of quality. A scientific discourse builds up, thus legitimating local production. Transmission is also insured thanks to the work of schools, including the Institut Régional d’Arts Visuels de la Martinique (also known as IRAVM). Our thesis aims at explaining how such an evolution is possible given the difficult context still subject to the torments of postcolonialism. So, we postulate that “history of art” mechanism grew in seventy years. Influenced by the postcolonial context which imposes resistance, by a literary world which initiates an identity expression’s quest, Martinique’s art is also dependent on actor’s commitment, in particular leader artists. Our thesis relies on a social vision of art. We consider the art world as a “history of art” mechanism, as a whole of four interrelated elements: production, broadcasting, transmission and legitimization.A first period of time, spreading from 1939 – beginning of the Second World War – to 1956 – first statement of departmentalisation – allows to lay the bases of this mechanism. During the world conflict, Martinique had to face the racist and repressive politics of Admiral Robert, the Vichy government’s representative in the Antilles, as well as a blockade aggravating an already precarious economic situation. Attachment to the metropolis gets more complicated. Between fidelity and disillusionment, a new status emerges. In 1946, Martinique becomes an overseas French department. The situation also evolves from a cultural point of view. Already in the 1930’s, a series of publications from black students in Paris questions the colonialist assimilation: Légitime Défense, in 1932, L’étudiant Noir, in 1936, where Aimé Césaire talks for the first time of Negritude. Martinique, which had only looked so far in the direction of France, turns now to a new centre: Africa, and discovers a new aspect of its identity. Plastic arts follow this upheaval. The world conflict makes the island a place of safety, a call for all the intellectuals fleeing from Nazi Europe: André Breton, Claude Lévi-Strauss or Cuban artist Wifredo Lam stayed there for sojourns of varied lengths. Less famous artists also land on the island. They unveil workshops open to all and import a vision of art that is completely original. With them, art is no longer an idle activity for young bourgeois, but rather a place of expression. Local artists therefore emerge, artists wishing to express the new identity detected by literary people. Indeed, they do not just create, but invest themselves in all the mechanism’s elements. In 1956, Césaire, deputy mayor of Fort-de-France, resigns from the French Communist Party, disappointed by the exactions of Stalinism and the FCP’s incapacity to fight postcolonialism. This resignation starts a long period of time marked by a fight against postcolonialism. Martinique is affected by a social and economic crisis, departmentalisation disappointed many. Moreover, some pied-noirs arriving from newly independent Maghreb countries and some CRS do not hide their disregard from black populations. The situation gets even tenser and violent conflicts burst out. In order to avoid an aggravation of these conditions – the spectre of Algeria is well present in minds – France sets up a new politic focusing on repression and migration. The objective is to shut up any resistance and to empty the country from it youth, youth that is often at the origin of riots. However this repression, only strengthens the resistance, which organises itself firstly in the political world and secondly in the associative world. The national fact is progressively acknowledged. If Martinique is a nation, it then needs a new identity. Authors such as Edouard Glissant, Patrick Chamoiseau, Raphaël Confiant and Jean Bernabé will feed this quest for identity. The evolution of the celebrations related to the 1848 abolition of slavery also participates to the formation of the Martinique people actors of their past and their future. Such considerations nourish artists. The Negro-Caribbean School offer a Caribbean aesthetic that is rich from the importance of its African bases. The Fwomajé group concentrates its attention on all the roots funding the island’s cultural hinterland: Europe, Africa, America and Asia. Independent artists also join this hunt for an identity and an aesthetic that expresses this identity. In parallel, the mechanism builds up. An academic discourse is developing. Cultural institutions multiply, and even more since culture becomes a major political stake
Lemoine, Louis. "Recherches sur l'enseignement et la culture dans la Bretagne du haut Moyen-Age". Rennes 2, 1986. http://www.theses.fr/1986REN20001.
Pełny tekst źródłaThis work comprises three parts. The first relates to palaeography. About ten manuscripts, mostly copied from insular models, have been studied. Both in the text and in the glosses, the scribes use insular, even specifically Irish, abbreviations, in particular for secundum and inter. For the word Contra, there exists a typically Breton symbol. Some insights into the localization of Breton scriptoria and the dispersion of the ninth-and tenth-century manuscripts out of Brittany will be found the conclusion. The second part is devoted to teaching methods. The Bretons, as well as insular people, use construe-marks which, as they link verb and subject, adjective and substantive, etc. , facilitate the work of the inexperienced Latin student. This method is illustrated by an analysis of the construe-marks inscribed on the Fourth Georgic (Berne Ms. 167). The Bretons also use the sequential system which consists in putting letters above the words of the latin sentence : when read in the a. B. C. . . Order, they give the student the syntactical order in his vernacular. This system particularly prevails in the Paris Priscian (B. N. Lat. 10290) which is cognate with Saint-Gall 904 (Irish). A comparative study of an extract from each of these grammars gives evidence of the influence of Irish methods upon Breton schools. Such influence is also to be found in the glosses to the Oxford Eutychus (Bodl. Lib. Ms. Auct. F. 4. 32). This part also includes a detailed study of the Latin and Celtic glosses to an extract from the second book of the Aeneid (Berne 167). The third part is devoted to a study of celtic glosses and particulary to the problems of the equivalency of Latin and Breton words, especially as regards the legal terms in the collections of canons and in the cartularies. For example : Clima rann, Theorica guparol, Curia dadl. The problems of lexical creation in the fields of grammar and computus are also dealt with. Finally, a chapter is devoted to mistranslations. A Latin-Breton glossary of about 1700 words will be found in an appendix
Lemoine, Louis. "Recherches sur l'enseignement et la culture dans la Bretagne du haut Moyen Age". Lille 3 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb37599392j.
Pełny tekst źródłaDufournaud, Nicole. "Rôles et pouvoirs des femmes au XVIe siècle dans la France de l'Ouest". Paris, EHESS, 2007. http://www.theses.fr/2007EHES0146.
Pełny tekst źródłaIn the ninety seventies, Joan Jelly asked the question: "Did women have a Renaissance?". The American historian answered negatively. Corning back to this question is moderating it and wondering about the woman's role in the economical and conjunctural dynamism of the XVI th century, as well as about the evolution of the statute of women of power. By describing real cases, we want to stress structural problems of a society that destroys itself and then recreates it. Through a regional study, women are taken into account in the social and economical dynamism of the Renaissance society and we show what they gained and lost
Ouin, Annie. "Hétérogénéité spatiale des paysages et processus écologiques : cas des rhopalocères dans le bocage breton". Rennes 1, 2000. http://www.theses.fr/2000REN10102.
Pełny tekst źródłaTillet, Édouard. "La constitution anglaise, un modele politique et institutionnel dans la france des lumieres". Aix-Marseille 3, 2000. http://www.theses.fr/2000AIX32016.
Pełny tekst źródłaKhennouf, Nora. "Le sacré dans l'art contemporain en France dans la seconde moitié du XXème siècle". Lyon 3, 2009. https://scd-resnum.univ-lyon3.fr/in/theses/2009_in_khennouf_n.pdf.
Pełny tekst źródłaA significant number of works of contemporary art; paintings, stained-glass windows, architecture are called holy art. What is holiness? How can it be identified and what is its function? Contemporary art in France, during the second half of the 20th century, must be considered from the viewpoint of the political and religious history on the European continent. By using Judeo-Christian symbols of the religious inheritance artists express their feelings about the world in which they live. Informing against all sorts of suffering and injustice the artist gets involved as a citizen of the world standing up for universal human values. That artistic autonomy goes together with a policy of public orders developed in the 80s by the government concerning listed buildings. Extending the first actions of Fathers Couturier and Régamey in the 50s, the Central government in partnership with religious institutions allows the artist to create esthetic and spiritual works of art. Space, matter, shape and colour give birth to stained-glass windows: transcendental creation offered to people in search for meaning. What you cannot see or cannot say comes up through alchemy surpassing the craftman. Le Corbusier, Mario Botta, the former in Saint-Pierre's church in Firminy in La Loire department, the latter in Evry construct and raise places of worship up to places of spirituality and culture. Artists, curators, philosophers, churchmen, teachers have enriched my research and account for the sources of my study. Their work strengthens my belief that a sacred art relying on the artist's sensibility and commitment imposes itself on the world today
Koch, Jacky. "L'art de bâtir dans les châteaux forts en Alsace ( Xe-XIIIe siècle)". Thesis, Université de Lorraine, 2012. http://www.theses.fr/2012LORR0138/document.
Pełny tekst źródłaFrom the end of the Hungarian invasions, in the second third of the 10th Century, until 1300, a growing number of private fortifications was built in Alsace. This phenomenon was represented by dozens of castles, ruins of which punctuate from North to South the eastern side of the Vosges Mountains and stirred up the curiosity of many archaeologists for more than one century. The history of their construction, or "art of building", considered as secondary for a long time, improved thanks to the archaeological studies of elevations. These researches enable to show information relating to the organisation of a building-yard and the management of materials, thanks to the documentation of the different stages of building. The Vosges massif being divided into a sandstone part in the North and a granite part in the South, geological or chemical studies open new fields of knowledge (composition of mortars, stone selection for the facing of wall...). Built upon a well visible summit, the castle gathered the functions of private residence and public defence, so its walls were designed to fit military and residential requirements at best
Letard, Christian. "L'Evolution des techniques compagnonniques dans l'art et l'architecture en Basse Auvergne". Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb37615156p.
Pełny tekst źródłaWu, Fang-cheng. "La cathédrale de Langres et sa place dans l'art du XIIe siècle". Université de Franche-Comté, 1994. http://www.theses.fr/1994BESA1009.
Pełny tekst źródłaGallon, Régis. "Diversité, structure et fonctions des communautés à Rhodophytes en Bretagne : réponses aux forçages environnementaux dans le contexte du changement global". Paris, Muséum national d'histoire naturelle, 2013. http://www.theses.fr/2013MNHN0017.
Pełny tekst źródłaThis thesis approaches the link structure - function of red seaweed communities across different spatial and temporal scales. For these studies, we based our approach on a methodology previously developed to assess the accuracy of our parameters based on sampling carried effort. First, we described the existing organization patterns across the Brittany coasts by comparing assemblages observed between 1992 and 1998 and those observed today. Then we focused on organization patterns present in the Normand Breton Gulf and how they are expressed through the : (1) species composition, (2) structure, (3) biomass of these communities. Red seaweeds communities are driven by the temperature, in the context of global changes their structure may be altered whereas their associated functions are relatively stable by the implementation of redundancy mechanisms. In a second part, we followed the species composition and structure of macroalgal communities in a process of colonization, biomass and productivity were then set up relationship with the characteristics of communities. The estimated biomasses reveal an important role in the primary production of red seaweeds communities in coastal systems. Finally, we examined the fate of organic matter produced by red seaweeds communities. We based on the complementarity of isotopes and fatty acid markers to follow organic matter through food webs. The organic matter produced by red algae is integrated directly and/or indirectly (detrital way) in benthic food webs
Tymula, Sophie. "L'art du Roc-de-Sers (Charente) dans son contexte solutréen". Paris 1, 1999. http://www.theses.fr/1999PA010610.
Pełny tekst źródłaThis research study fits into the new-tought movement which aims at the paleolithic art works reinseration in their economic, social and cultural contexts. Trough the spatial-temporal recontextualization of the rock engraved art appliance of the solutrean establishment site of Roc-de-Sers (Charente), Formerly excavated, the author attempts to point out the stakes of that combined research approach, a basic one for the paleolithic art characterization. The latter is no more concerned with the general style-concept which confers to it a conspicuous unit in a large evolutive vision, neglecting the increasing regionalization process, but it incorporates the art into determinated cultures by technological-economical complexes systems. So estimated, the relations between art and society tempt to cancel the established partionings compound of endless symbolic approximations and evolutive assumed parallels, and reinforce the symbolic identity of each group. Relaying to the observations collected on the most tangible witnesses of this site establishment technological-economic unit, the technological, morphological and stylistic analysis of that exemplary rock art appliance engraved representations has led to dicern a stylistic conventions assemblage, which is proving to form a pertinent reference frame for the upper-solutrean art determination. On the light of these result it has been possible to reinsert the roc-de-sers rock art appliance in the French-Iberian solutrean contextual frame
Louis, Marie. "L'art contemporain martiniquais de 1939 à nos jours : la naissance d'une histoire de l'art dans un contexte postcolonial". Thesis, Metz, 2009. http://www.theses.fr/2009METZ030L/document.
Pełny tekst źródłaIn 1943, René Hibran, French artist who had recently moved to Martinique states : « il n’y a pas d’art local ou si peu, si réduit dans ses manifestations ! ». Already four years ago, Father Delawarde did the same comment. However, in 2009, the art world has expanded considerably. A specific aesthetic developed far away from Western academism, plastic expression not stopping to fill out. Places of diffusion have opened and offer expositions of quality. A scientific discourse builds up, thus legitimating local production. Transmission is also insured thanks to the work of schools, including the Institut Régional d’Arts Visuels de la Martinique (also known as IRAVM). Our thesis aims at explaining how such an evolution is possible given the difficult context still subject to the torments of postcolonialism. So, we postulate that “history of art” mechanism grew in seventy years. Influenced by the postcolonial context which imposes resistance, by a literary world which initiates an identity expression’s quest, Martinique’s art is also dependent on actor’s commitment, in particular leader artists. Our thesis relies on a social vision of art. We consider the art world as a “history of art” mechanism, as a whole of four interrelated elements: production, broadcasting, transmission and legitimization.A first period of time, spreading from 1939 – beginning of the Second World War – to 1956 – first statement of departmentalisation – allows to lay the bases of this mechanism. During the world conflict, Martinique had to face the racist and repressive politics of Admiral Robert, the Vichy government’s representative in the Antilles, as well as a blockade aggravating an already precarious economic situation. Attachment to the metropolis gets more complicated. Between fidelity and disillusionment, a new status emerges. In 1946, Martinique becomes an overseas French department. The situation also evolves from a cultural point of view. Already in the 1930’s, a series of publications from black students in Paris questions the colonialist assimilation: Légitime Défense, in 1932, L’étudiant Noir, in 1936, where Aimé Césaire talks for the first time of Negritude. Martinique, which had only looked so far in the direction of France, turns now to a new centre: Africa, and discovers a new aspect of its identity. Plastic arts follow this upheaval. The world conflict makes the island a place of safety, a call for all the intellectuals fleeing from Nazi Europe: André Breton, Claude Lévi-Strauss or Cuban artist Wifredo Lam stayed there for sojourns of varied lengths. Less famous artists also land on the island. They unveil workshops open to all and import a vision of art that is completely original. With them, art is no longer an idle activity for young bourgeois, but rather a place of expression. Local artists therefore emerge, artists wishing to express the new identity detected by literary people. Indeed, they do not just create, but invest themselves in all the mechanism’s elements. In 1956, Césaire, deputy mayor of Fort-de-France, resigns from the French Communist Party, disappointed by the exactions of Stalinism and the FCP’s incapacity to fight postcolonialism. This resignation starts a long period of time marked by a fight against postcolonialism. Martinique is affected by a social and economic crisis, departmentalisation disappointed many. Moreover, some pied-noirs arriving from newly independent Maghreb countries and some CRS do not hide their disregard from black populations. The situation gets even tenser and violent conflicts burst out. In order to avoid an aggravation of these conditions – the spectre of Algeria is well present in minds – France sets up a new politic focusing on repression and migration. The objective is to shut up any resistance and to empty the country from it youth, youth that is often at the origin of riots. However this repression, only strengthens the resistance, which organises itself firstly in the political world and secondly in the associative world. The national fact is progressively acknowledged. If Martinique is a nation, it then needs a new identity. Authors such as Edouard Glissant, Patrick Chamoiseau, Raphaël Confiant and Jean Bernabé will feed this quest for identity. The evolution of the celebrations related to the 1848 abolition of slavery also participates to the formation of the Martinique people actors of their past and their future. Such considerations nourish artists. The Negro-Caribbean School offer a Caribbean aesthetic that is rich from the importance of its African bases. The Fwomajé group concentrates its attention on all the roots funding the island’s cultural hinterland: Europe, Africa, America and Asia. Independent artists also join this hunt for an identity and an aesthetic that expresses this identity. In parallel, the mechanism builds up. An academic discourse is developing. Cultural institutions multiply, and even more since culture becomes a major political stake
Cucarull, Jérôme. "Les industries en Ille-et-Vilaine dans la seconde moitié du XIXème siècle : adaptations et inerties d'un département rural face à la seconde industrialisation". Brest, 1993. http://www.theses.fr/1993BRES1009.
Pełny tekst źródłaIn the 19th century, Brittany missed the chance of an economic take-off. After an analysis of Ille-et-Vilaine, we can determine the reasons and the mechanisms of this evolution, which occured in a region that remained quite a lot rural. Outside towns, the only industrial concentrations were bound to the presence of natural resources. The general disaster happened toward 1880 1890 and affected the main sectors of the economy (the textile industries, iron-works and mines). Only subsisted traditional industries, which hold on as well as they could. The new (chemical, electrical) activities were not developped a lot. Mecanization was heavy. But the evolutions in the industrial network and outputs, as well as the assessment of the quantity and the origin of assets showed an insufficient adaptation to the modern economy. Capitalists firms were rare. As the economy of the department opened itself, competitivity was strengthened, but the study of the labour work confirms the fact that there was no unified labour market. Decline was certainly to happen, in spite of all controls means
Malherbe, Anne. "L' épaisseur sensible : la matérialité dans l'art sur la scène parisienne entre 1944 et 1965". Paris 1, 2004. http://www.theses.fr/2004PA010605.
Pełny tekst źródłaHaus, Brigitte. "Lettres hébraïques dans l'art contemporain en France après la seconde guerre mondiale". Paris 10, 2007. http://www.theses.fr/2007PA100123.
Pełny tekst źródłaIn the second half of the twentieth century, to counteract the loss of Jewish identity resulting from the annihilation of Jewish culture in Eastern Europe and North Africa, an artistic movement focussed on Hebraic letters arose, particularly in France. Central to Jewish thinking and expressed only in the languages of the Jews, the latter are considered here as the paradigm of Judaïsm. The movement gathered strength through the 1970s as the wars in Israel revived the quest for Jewish identity. The characteristic dissimulation of letters, particularly those comprising writing, is seen as a metaphorical reference to the unintelligibility of the Torah in Jewish mysticism, to the extinction of Jewish life, and to the inexpressibility of the trauma of the Holocaust. Evoking tradition and modernity, the movement draws on the specificity of Jewish art since the Middle Ages, adding references to contemporary art forms, especially those featuring writing. In part, its inspiration is drawn from catholic iconography in illustration of abstract cabalistic concepts. Thus, the Diaspora is both its rationale and its source of inspiration. The influence of Chinese art –corroborating the leaning of many Jews towards Buddhism – reflects the ambivalence of the feelings of otherness and assimilation of the Jews of France. Setting hope, life, dance and music, on the same connotation level as the Holocaust, the movement embodies reconstruction
Wilhelm, Gwenaëlle. "Contribution à l'étude de l'étrille Necora puber (Crustacea, Brachyura) dans le Mor-Braz (Bretagne Sud) : données halieutiques, biologiques et pathologiques". Paris 6, 1995. http://www.theses.fr/1995PA066489.
Pełny tekst źródłaBarbillon, Claire. "Canons et théories de proportions du corps humain en France (1780-1895)". Paris 10, 1998. http://www.theses.fr/1998PA100120.
Pełny tekst źródłaTanabe, Mégumi. "La signification et la fonction symbolique de l’ornement végétal dans les livres d’heures bretons au XVe siècle". Paris 10, 2008. http://www.theses.fr/2008PA100194.
Pełny tekst źródłaDuring the XVth century there was considerable quantitative and qualitative development in the botanical illumination of Breton books of hours. When faced with the seemingly infinite variation of representations in the margins of each illustrated folio one cannot help asking oneself about the iconographical signification of botanical ornamentation. This work, which used an analysis of each plant species represented, shows that the choice of motifs used was not simply due to fashion. The repertoire of botanical illuminations used in a fundamental Christian context can best be understood in the light of both their religious and secular connotations. The ambivalent or even polyvalent meaning of every botanical motif has made us question the precise function within the whole image represented. This approach has revealed many symbolic constructions associated with Salvation where the illuminations used did not depend on commonly employed symbolic bases. Furthermore, the unique use of botanical motifs in the book of hours of Marguerite d’Orleans (BnF. Ms. Lat. 1156B) led to the conclusion that sponsors exerted considerable influence on a book’s ornamentation. The objective of this work was to use analytical and symbolic approaches, covering a large range of plant species, to describe the functional significance of botanical illumination. This confirmed not only the remarkable richness of the latter but also revealed the genuine and original work of XVth century illuminators
Nayrolles, Jean. "Roman et néo-roman : de l'invention du passé dans la culture archéologique et dans l'art du XIXe siecle français". Toulouse 2, 1994. http://www.theses.fr/1994TOU20054.
Pełny tekst źródłaKerlouégan, François. "Le " De excidio Britanniae " de Gildas : les destinées de la culture latine dans l'île de Bretagne au VIe siècle /". Paris : Publications de la Sorbonne, 1987. http://catalogue.bnf.fr/ark:/12148/cb36630096q.
Pełny tekst źródłaBulit-Werner, Pascale. "Images de la musique céleste dans l'art français du XVème siècle : Les anges musiciens dans l'iconographie mariale et les scènes du Jugement dernier". Paris 4, 1996. http://www.theses.fr/1996PA040168.
Pełny tekst źródłaThe topic of this work is the representation of musician angels in French art of the fifteenth century, focusing mainly on miniatures and wall-paintings. .
Schumacher-Rinderer, Maria-Gratia. "L'eglise notre-dame de gargilesse et sa place dans l'art du 12e siecle". Paris 4, 1986. http://www.theses.fr/1986PA040252.
Pełny tekst źródłaThe church notre-dame of gargilesse (indre), belonging to the castle of the seigneurs de naillac, has two different parts: the sanctuary with a polygonal chevet covering 3 apses, decorated by pointed archs, the transept protruding only a little bit, the crypt on the same plan and a quadrangle tower; and the nave, more simple, showing the first experiences of ribbed vaulting in its 2 bays preserved, the side aisles are very narrow. Nevertheless, the search about continual space (passages around the crossing, continuity of the vaulting system), the harmony in proportions, the same window system and the continuation of the same fitting of the stones cause the surprising impression of unity. While no comparison can be made in the berry, very important ones exist in the limousin (lubersac, vigeois) and even in the holy land (sainte-anne of jerusalem); the poitou-saintonge region may have inspired the decoratif elements and the ile de france the vaulting system of the chief nave. The ensemble of the historiated capitals from the sanctuary is exceptional for the quality of carving, the coherency and the complexity of the iconographic program. .
Durand, Gildas. "Les Retables et groupes sculptés, originaires des anciens Pays-Bas, des XVème et XVIème siècles, conservés en Bretagne et la problématique de l'étude de la statuaire en Bretagne : recherches sur la notion d'expansion artistique, et sur le rôle des influences étrangères dans les productions locales". Rennes 2, 1989. http://www.theses.fr/1989REN20019.
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