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Artykuły w czasopismach na temat "Gallimard (Paris) – 20e siècle"
Pavón Benito, Julia. "¿Es necesario seguir investigando sobre la muerte? Una reflexión historiográfica y nuevas perspectivas". Vínculos de Historia Revista del Departamento de Historia de la Universidad de Castilla-La Mancha, nr 12 (28.06.2023): 65–83. http://dx.doi.org/10.18239/vdh_2023.12.03.
Pełny tekst źródłaBechelany, Camila Campelo. "Modernidade, art brésilien du 20e siècle (Paris, 1987)". Revista VIS: Revista do Programa de Pós-Graduação em Arte 15, nr 2 (7.11.2016): 238–52. http://dx.doi.org/10.26512/vis.v15i2.20403.
Pełny tekst źródłaLavernhe, Thibault. "Régis Debray : D’un Siècle l’autre ; Gallimard, Paris, 2021 ; 300 pages". Revue Défense Nationale N° 854, nr 9 (8.11.2022): 125–26. http://dx.doi.org/10.3917/rdna.854.0125.
Pełny tekst źródłaMilliot, Vincent. "Laurent Turcot, Le promeneur à Paris au XVIIIe siècle, Paris, Gallimard, 2007,427 p., ISBN 2070783669." Revue d’histoire moderne et contemporaine 56-3, nr 3 (2009): 214. http://dx.doi.org/10.3917/rhmc.563.0214.
Pełny tekst źródłaCarbonnier, Youri. "Laurent Turcot, Le promeneur à Paris au XVIIIe siècle, Paris, Gallimard Le Promeneur, 2007, 427 p." Histoire urbaine 28, nr 2 (2010): 176. http://dx.doi.org/10.3917/rhu.028.0176.
Pełny tekst źródłaDuranton, Henri. "Laurent Turcot , Le Promeneur à Paris au xviii e siècle , Paris, Gallimard, Le Promeneur, 2007, 427 p." Dix-huitième siècle 41, nr 1 (28.08.2009): CLIV. http://dx.doi.org/10.3917/dhs.041.0695ex.
Pełny tekst źródłaLe Floch-Prigent, Patrice, Juliette Nguyen i Jean-Bernard Gillot. "Un cœur en plâtre démontable, modèle anatomique, agrandi : « Boubée » à Paris, du milieu du 20e siècle". Morphologie 103, nr 342 (listopad 2019): 105. http://dx.doi.org/10.1016/j.morpho.2019.09.063.
Pełny tekst źródłaCaplain, Serge. "LE SOLDAT. XX e -XXI e SIÈCLE, François Lecointre (dir.), Paris, Gallimard, 2018, 448 pages". Politique étrangère Été, nr 2 (18.05.2018): X. http://dx.doi.org/10.3917/pe.182.0192j.
Pełny tekst źródłaLamouroux, Christian. "Frontières de France, vues de Chine". Annales. Histoire, Sciences Sociales 58, nr 5 (październik 2003): 1029–40. http://dx.doi.org/10.1017/s0395264900018114.
Pełny tekst źródłaParinet, Élisabeth. "1911-2011. Gallimard. Un siècle d’édition , sous la direction d’Alban Cerisier et Pascal Fouché. Paris, Bibliothèque nationale de France/Gallimard, 2011, 392 p." Bulletin du bibliophile N° 357, nr 1 (1.01.2013): 196–98. http://dx.doi.org/10.3917/bubib.357.0208a.
Pełny tekst źródłaRozprawy doktorskie na temat "Gallimard (Paris) – 20e siècle"
Carlier, Lucie. "Édition établie, présentée et annotée de la correspondance inédite échangée entre Jean Schlumberger (1877-1968) et sa femme Suzanne Weyher (1878-1924) de 1899 à 1912". Electronic Thesis or Diss., Toulon, 2020. http://www.theses.fr/2020TOUL3001.
Pełny tekst źródłaThe edition of the marital correspondence between Jean Schlumberger (1877-1968) and Suzanne Weyher (1878-1924), exchanged between 1899 and 1912, is a polymorphic document open to multiple uses. First of all, this epistolary relationship serves the history of mentalities, as private letters introduce us to the young Protestant partners, at the dawn of their engagement and then their marriage, and tell us how they fit into their bourgeois social universe. In this respect, the missives are a historical document on bourgeois society at the end of the 19th and beginning of the 20th century. Thus, the 539 letters reproduced in the present edition reveal a whole section of the past. Then, ego-document, the letter is an archive of the self. In the manner of Marie-Claire Grassi, we have favoured a "long-term monographic approach" in order to "highlight the evolution of feelings within [a] couple", trying to answer the question : do men and women speak the same language ? This allowed us to affirm that the epistolary exchange between Jean and Suzanne Schlumberger is first of all an example of love correspondence. Each in their own way, through the narration of everyday life, the two writers "implicitly order and reconstruct the landscape of love". To the rhythm of the love letters, the epistolary channel becomes the place par excellence where the family sphere is built, since the two individuals become parents. Through these extracts of life that are the epistolary testimonies, an illustration of the History of motherhood and fatherhood in a particular legislative context, where women are under the yoke of the Napoleonic Code, is constituted. Reflections and thoughts on these life upheavals, both intersubjective and social, show new parents trying to define themselves in their singularity, between tradition and modernity. Conjugal, familial, the epistolary relationship of Jean and Suzanne Schlumberger is also artistic. Both freeing themselves from a prohibitive common education and driven by advanced ideas, the spouses gradually blossomed in their respective art, Jean writing, Suzanne painting. Privileged tools of an interactionist study between the human being and the work, the conjugal letters are as many signs that make sense and illustrate the intimate history of two artists. Even if Jean Schlumberger told his friend Aline Mayrisch that he had "jealously guarded" his private life away from his literary life, the intimate and artistic correspondence nevertheless blends, at the very heart of Jean's letters, the account of his professional and public encounters, which are fertilizer for the literary history of the time. And for good reason, as Jean Schlumberger's career as a writer developed and his place, which was to be crucial within La Nouvelle Revue Française, private correspondence, though by definition closed in on itself, opened up to the literary world. The oxymoronic notions of "private" and "public" collide at the heart of the Schlumberger couple's correspondence, making us discover Suzanne's minimal but unknown role within the editorial enterprise that is La Nouvelle Revue Française. In Jean Schlumberger's letters, the increasingly frail boundary between inside and outside is further weakened by the exponential presence of the future Nobel Prize winner for literature (1947), André Gide, encroaching on Suzanne's epistolary legitimacy. Suzanne then adopted new enunciative strategies and turned her friendship with Madeleine Gide, Sabine Schlumberger's godmother, into a new enunciative duo that made the epistolary discourse polyphonic. The letters mirror the literary and artistic relationships of the time. The correspondence of the Schlumberger couple therefore has multiple interests, historical, sociological, biographical, psychological, generic, literary and artistic
Flonneau, Mathieu. "L'automobile à la conquête de Paris, 1910-1977 : formes urbaines, champs politiques et représentations". Paris 1, 2002. http://www.theses.fr/2002PA010507.
Pełny tekst źródłaLee, You-Sook. "L'activité picturale à Paris en 1945". Université Marc Bloch (Strasbourg) (1971-2008), 1996. http://www.theses.fr/1996STR20045.
Pełny tekst źródłaIn 1945 the artistic activity has briskly amplified. In the particular reopening atmosphere of the museum of the louvre and galleries, classic and modern trends are all well welcomed. Among exhibitions, the tendency of the abstract art has the wind in stern. The young artists work under the influence of the fauvism and the cubism, their elders matisse and picasso. The main painters of this second generation of the abstract art are then bazaine, esteve and lapicque, that expose to the gallery louis carre, john fautrier with its series of otages to the gallery of rene drouin, and participants to the exhibition of the concrete art where is asserting the geometrical abstraction. The emergence of the lyrical abstraction to paris in 1945 results at once from the cubism, the fauvism and the surrealism, whose researches and contributions are recaptureed in new forms by the young abstract painters
BRANCIARD, LAETITIA. "Les relations culturelles entre paris et madrid de 1914 a 1931 itineraires, roles et influences des artistes peintres". Paris 8, 1996. http://www.theses.fr/1996PA081202.
Pełny tekst źródłaThis research thesis aims to study the artistic and more generally the cultural relationships between paris and madrid, in order to demonstrate that the movement of people, art production and ideas influenced the contemporary creativity. This paper is articulated aroud three parts, each of wich takes into account the decisive cultural relationships between the two capitals. The study of the perception modes for the ideas and artistic "waves" in the parisian and madrilan cultural contexts, is of primary interest for this thesis. It allows us to show the role of the intelligencia publishing and press as "cultural intermediaires"
Benech, Philippe. "La nouvelle politique d'aménagement et d'urbanisme à Paris : l'exemple des projets relatifs aux nouvelles ZAC". Paris 4, 1987. http://www.theses.fr/1986PA040303.
Pełny tekst źródłaThe policy for city renovation engaged by the paris city around the fifties, found its origin in a trend of fast economic growth conditions. This policy has given birth in priority to the modernization of the parisian real estate basis and the construction of many residences. From 1975, a new policy in space organisation and urbanism, based on more diversificated options is appeared. This report's try to analyse the main objectives in space management and particulary concerning :. The problems linked to lodging and lodging again ; the preservation and the development of industrial, artisan and commercial activities ; the integration of buildings in the urban texture ; the aspects of renovation and rehabilitation ; the strongthening of public equipments, cultural and hobby ones ; the creation of green spaces and pedestrian passages. The new policy in space organisation and urbanism in paris find today its frame from these criteria and through the creation of z. A. C. 's. In addition, the aim of this report is to analyse that parisian z. A. C. 's policy by taking the particular exemples of operations planned or realized in the "z. A. C. Des amandiers", in the 20th arrondissement by an organism "s. E. M. E. A. Xv" tool of this important operation. . In a first step, this survey draws the z. A. C. 's policy and the reglementation inside them and states exemples of such operations in paris. .
Daufresne, Jean-Claude. "Architectures de fêtes à Paris au XXeme siècle : architectures éphémères de 1919 à 1989". Paris 4, 1999. http://www.theses.fr/1998PA040225.
Pełny tekst źródłaGasquet, Axel. "L'intelligentsia du bout du monde : les écrivains argentins à Paris". Paris 10, 2000. http://www.theses.fr/2000PA100029.
Pełny tekst źródłaStrauss, André. "Le financement de l'économie française de la fin du XIXe siècle à la fin du XXe siècle". Paris 1, 2006. http://www.theses.fr/2006PA010694.
Pełny tekst źródłaCatteau, Prune Iris. "Le Portugal à Paris : médiations et représentations de 1880-1914". Doctoral thesis, Université Laval, 2017. http://hdl.handle.net/20.500.11794/28011.
Pełny tekst źródłaThis thesis is dedicated to the study of Portugal’s literary and cultural presence in Paris from 1880 to 1914. Since the rise of the French press, Paris is an essential hub for the cultural and literary organization networks, both nationally and internationally, not only owing to the universal consecration it earned in the arts and literature but also because this capital city symbolizes creative freedom, inspiration and the meeting place of choice. Portuguese intellectuals, writers, diplomats and students travel or move to Paris to soak up the unique atmosphere, to learn, to bring back a number of ideas in their country but mainly to promote their culture and identity. Cosmopolitanism and nationalism are two major factors that foster not only bilateral exchanges but also a link between the two brotherly nations, as verified by pro-Latin and pro-republican Franco-Portuguese journal publications. This study, first of all, allows one to understand the activities and achievements of Parisian mediators of Portuguese culture, and to analyze these transfers in terms of their material aspects (media used, periodicity, distribution, networks). Furthermore, the analysis focuses on the discursive production that emanates from this context while paying attention to Portugal’s stagings and representations in Paris. Our intend to cover the field at best leads us to also consider so-called minor productions (literary event programs, invitations, posters, flyers). Some researchers, especially French (Pageaux 1984, Piwnik 2008, Quint 2006, Rivas 2015), have studied Franco-Portuguese literary and cultural relations, showing these exchanges’ importance without, however, focusing on intellectual weaving in general at the turn of the century. In addition, recent research has shown the extent of an international press development movement at the end of the nineteenth century without paying special attention to Portuguese implication (Thérenty and Vaillant 2010, Cooper-Richet, 2016). Since 1880 until the advent of World War I, Paris is interested in more than only Portugal's exoticism but by the specificity of its modern literature, especially through French and Portuguese Symbolists’ reciprocity and through various cultural agents established in Paris. The Paris of The Belle Epoque takes part in a real transformation in Portugal’s representation in France, namely the transition from a mythical depiction based on Portugal’s glorious past discoveries to a contemporary depiction conveyed by poetry, politics, travel and exhibitions. Camões as a political, historical and literary symbol of Portugal is renewed in France thanks to the tercentenary celebrations of his death in 1880 and sets the beginning of a new era in Portugal’s representation in France. Camões, in the mainstream press, in the press vanguard and in the institutional press, not only represents an epic national glory but he also symbolizes the whole country, the people, the nation, all social classes, the national soul, the Republican center and Coimbra’s academic class. While the Franco-Portugal relations culminated thanks to those Portuguese prints published in French by 1900 and to the proclamation of the Portuguese Republic in 1910, Camões brings universal consecration to Portugal and to a worshiped Europe : his bust is unveiled near the Eiffel tower in 1912 and a literary society “Les amis de Camoens”, composed of many French intellectuals (Anatole France, Pierre Loti), is founded and prints a journal on this bilateral literary friendship that lasts until 1914. In short, this work analyzes the media initiatives launched by some Portuguese in Paris, cultural and literary networks, social exchanges and interactions that underlie them. The main contribution of this work for research will be to provide a view which is as comprehensive as possible of Portugal’s literary and cultural presence in Paris and of its representation at a time when France and its capital city is a hub and a key intellectual model.
Kunth, Anouche. "Du Caucase à Paris : un autre exil arménien : expériences migratoires et ancrages en dispora : de 1920 à l'implosion de l'Union Soviétique". Paris, EHESS, 2013. http://www.theses.fr/2013EHES0055.
Pełny tekst źródłaRather than approaching the Armenian Great Diaspora from the perspective of its Ottoman origins, this research is devoted to the lesser-known itineraries of Armenian subjects of the Tsarist Empire, mainly from the Transcaucasus province, during and after the 1917 Revolution. As a social elite, they escaped the wave of repression targeting opponents of Bolshevism and fled into exile, with France as a favorite destination, trading along the way their former citizenship for the newly status of refugee created under the aegis of the League of Nations. From a social and even political point of view, they shared very little with the Armenians of the former Ottoman Empire, numerously exiled in France. Cultural component of the Russian community, the « Caucasians » tended to despise the rural and uncouth « Turkish » Armenians, so challenging any assumptions about the prominence of the ethnic factor in the coalescence of a Diasporic group. Yet, their political education and social clout predisposed them to a leading role in the organization of the Great Diaspora. The relation between these Armenian groups took unexpected paths, difficulties stemming from the deeply contrasted nature of their recent ordeal: ethnic genocide against social and political persecutions. Examining the Armenian Diaspora from the angle of its initial heterogeneity, this research offers an in-depth analysis on the long-run (1920s-1990s). It highlights the main mechanisms, both official and unofficial, responsible for the amalgamation of human groups marked by very diverse experiences into a still homogeneous community, slowly convinced it was born from a single original Big Bang-like traumatic event
Książki na temat "Gallimard (Paris) – 20e siècle"
Mémoires du Louvre. [Paris]: Gallimard, 2011.
Znajdź pełny tekst źródłaAlbert, Nicole G. Saphisme et décadence dans Paris fin-de-siècle. [Paris]: La Martinière, 2005.
Znajdź pełny tekst źródłaAlbert, Nicole G. Saphisme et décadence dans Paris fin-de-siècle. Paris: Martinière, 2005.
Znajdź pełny tekst źródłaRoger, Jouan, Baude-Defontaine Alain i Bibliothèque historique de la ville de Paris., red. Les bâtisseurs de rêves: Grands décorateurs de théâtre, 1950-1980 : [exposition], Bibliothèque historique de la ville de Paris, [Paris, 8 avril-7 juin 2003]. Paris: Paris bibliothèques, 2003.
Znajdź pełny tekst źródłaLes arts décoratifs: Une histoire en images. Paris: Les Arts Décoratifs, 2006.
Znajdź pełny tekst źródłaLebovics, Herman. True France: The wars over cultural identity, 1900-1945. Ithaca: Cornell University Press, 1992.
Znajdź pełny tekst źródłaSimenon, Georges. Memorie intime. Milano: Adelphi, 2009.
Znajdź pełny tekst źródłaSimenon, Georges. Mémoires intimes. Paris: Presses Pocket, 1985.
Znajdź pełny tekst źródłaLeslie, R. F. History of Poland Since 1863. Cambridge University Press, 2011.
Znajdź pełny tekst źródłaLeslie, R. F. History of Poland Since 1863. Cambridge University Press, 2009.
Znajdź pełny tekst źródłaCzęści książek na temat "Gallimard (Paris) – 20e siècle"
Chevaillier, Léo Rivaud. "Paul Gallimard (1850–1929): A ‘Dandy Collector’ in Paris at the Fin de Siècle". W Mapping Art Collecting in Europe, 1860-1940, 88–99. Brill | Schöningh, 2023. http://dx.doi.org/10.30965/9783657795437_007.
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