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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 In this respect, the missives are a historical document on bourgeois society at the end of the 19th and beginning of the 20th century.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
Vinas, Bricall Maria Teresa. "Peintres catalans à Paris : le marché de l'art parisien et les peintres vivants catalans : 1880-1939". Paris 4, 1993. http://www.theses.fr/1993PA04A002.
Pełny tekst źródłaLesur, Jean-Marc. "L'Hôtellerie parisienne aux XIXe et XXe siècles". Paris, EHESS, 1994. http://www.theses.fr/1994EHES0038.
Pełny tekst źródłaPassalacqua, Arnaud. "L'autobus et Paris : souplesse, espace public et mobilité de 1900 aux années 1970". Paris 7, 2009. http://www.theses.fr/2009PA070041.
Pełny tekst źródłaBirthplace of cars, Paris is identified with its metro today, and the city seems to keep a secondary part for its bus network. XIXth century Parisians could not share that feeling because the Madeleine-Bastille omnibus, running along and merging with the famous boulevard, made a strong impression on them. The bus would have been the victim of standardization of the urban mobility, and its logic, more traditional than industrial, would not have been ,able to adapt to changes. And yet, the bus did not join the other modes of transport that have disappeared, from tramways to passenger ships on the river Seine. This thesis intends to clear up this problem through an analysis of the development of this technical object, i. E. The bus, in the Paris area, organized around three problematic axes. Firstly, the notion of flexibility, as it appears in speeches and facts, characterizes the behaviour of the bus network. But it can show various aspects and lead to misunderstandings. Secondly, the notion of public space allows the analysis of the interplay between means of transport, that is to say alliances, oppositions and compromises, which decisively affects this history. Lastly, the concept of urban mobility leads us to think of what could be another history of transport, dealing with travelers and social images as well as more classical factors such as traffic and rolling stock. This work is also based on London, taken as a counterpoint. It allows to determine not only the local context but also the influence both European capitals have exerted on each other as far as public transport is concerned
Vales, Le Guennec Géraldine. "L'enseignement secondaire des jeunes filles à Paris de 1880 à 1938". Paris 5, 2004. http://www.theses.fr/2004PA05H036.
Pełny tekst źródłaThe thesis emphasizes two main issues. It is devoted, first, to the specific funding model of secondary education for girls in Paris, and its impact on the nature of the schools themselves. From the application of the Camille Sée law of 21st december 1880 in Paris, oppositions grew between the radical and the autonomist republicans in the Paris City Council and the opportunist republicans of the french government, as to the means of controlling the new institution , and the first five lycées for girls in Paris (Fénelon, Racine, Molière, Lamartine et Victor Hugo) created between 1883 and 1895 were funded soleley by the state. Second, from 1905, a period of mutations began for secondary education for girls, following which studies were reoriented for the preparation of the french baccalaureate. The analysis concentrates on Paris as a sample city in order to examine the issues raisedby the former evolution and explains the reasons leading to the 1924 reform, which assimilated secondary education for boys and girls. From the exemple of the capital city of France, the thesis also discusses the conditions of application of the Léon Bérard reform in parisian lycées for girls, together with the results of the assimilation and the new situation of secondary education for girls
Dauss, Markus. "Die architektonische Symbolisierung politischer, sozialer und kultureller Institutionen in Berlin und Paris (1871-1918) : Studien zur politischen Ikonologie öffentlicher Architekturen im deutschen Kaiserreich und der dritten Republik". Paris, EPHE, 2004. http://www.theses.fr/2004EPHE4029.
Pełny tekst źródłaOur study tries to examine the role of public buildings in the capitals of the German Empire (Berlin) and the third French Republic (Paris) from 1871 to 1918. The urban space is therefore being considered as a crystallization of the national community and its construction of identity. Political history has since some time focussed on the study of collective identity and its symbolization. The approach we have adopted for our study is a crossing of this current of political history and of a more classical kind of history of architecture. It could be called political iconology of architecture in Paris and Berlin. Our study which tries to close this gap hopes to find its readers in both countries. It treats the following building types: Basilique of the Holy Heart, parliamentary assemblies, government and post offices, town halls, museums, churches and Synagogues
Peters, Christian. "Hauptstadtsymbolik und Architektur : eine Untersuchung zu den Formen politischer Selbstdarstellung in der Berliner Republik und im Paris der Ära Mitterand". Paris, EPHE, 2008. http://www.theses.fr/2008EPHE4024.
Pełny tekst źródłaProulx, Diane. "Le suicide à Paris de 1865 à 1913 : étude épidémiologique". Master's thesis, Université Laval, 1995. http://hdl.handle.net/20.500.11794/27426.
Pełny tekst źródłaRoux, Jacqueline. "Le lycée Lamartine : 1891-1996 : histoire d'un lycée parisien de jeunes filles". Paris 1, 1997. http://www.theses.fr/1997PA010612.
Pełny tekst źródłaA history of our national education viewed from down below, carried out from the institution's own archives. How are accepted the instructions issued by the ministry of education and the educational district when delivered at the lycee: Camille See act, Berard reform, charge exemption from scholarly costs, Capelle reform? What is the part of autonomy, sometimes of ignoring instructions? Four periods in this monograph of a century-old lycee of the 9th district: - the time of young ladies, 1891-1914, that of the diploma, of passionate feminism and social work (workroom and holiday camps). Enrolment- for a fee -is from children of the district middle-class - jewish, protestant and militant agnostic families - but, contrary to instructions, "eagles" are induced to enter the university, while "goslings" study part-time and, with their mothers, spend the afternoon on social life. - The time of graduates - 1914-1954- with enrolment from the suburdan middle-class. In the thirties the lycee turns out around a hundred graduates every year. An entrance examination to the lower form makes registration dependent on merit, not only on social status. The second war is a black period, owing to to the large number of jewish girls: deportations, "yellow star", hidden children, exclusion of teachers. - the time of effervescence and dissent - may '68, guiot affair, the "files", movement against the debre act, etc. . . - creates a hotbed of protest and intense creativity, resulting in a fracture among the adults, teaching staff and parents. - The time of ebbing of perischolar pedagogic activities and political activism after 1980, despite ups and downs : the opening to boys remains incomplete, the college (lower forms) becomes socially more elitist than the lycee, suburban enrolment disappears. The lycee is seeking for a new breath
Lebel, Hélène. "Le théâtre à Paris (1880-1914) : reflet d'une société?" Paris 1, 1997. http://www.theses.fr/1997PA010586.
Pełny tekst źródłaThe study of the plays given in Paris between 1880 and 1914 and selected from l'illustration, its theatre supplement and the revue des deux mondes, shows that many foreign plays appear on the parisian stage : British plays in the 1880's, Scandinavian drama in the 1890's and Italian, German and Slavonic plays in the early twentieth century. Besides, French drama gives a reflection of reality through middle class eyes. In term of numbers the first social group on the stage, the middle classes, are also represented in a favourable light. The other social groups (nobility, peasants, the working class and artists) looked at from the middle class point of view, are laughed at, despised or hated. Finally the mains reasons for middle class fears appear on the stage : social problems, religious preoccupations, questions about the emancipation of women and children from male authority, the legalization of divorce and specially patriotic fears in a period which is more and more characterized by international tensions between France and Germany in the immediate pre-first-world war period
Auzas, Vincent, i Vincent Auzas. "La commémoration du 11 novembre à Paris 1919-2012". Doctoral thesis, Université Laval, 2016. http://hdl.handle.net/20.500.11794/28073.
Pełny tekst źródłaTableau d’honneur de la Faculté des études supérieures et postdoctorales, 2016-2017.
En 1919, la France sort d’une guerre au cours de laquelle elle a subi des pertes humaines jusque-là inimaginables. L’État est alors amené à inventer de nouveaux outils pour faire face au deuil et au traumatisme. C’est l’un d’entre eux, le 11 Novembre, que cette thèse a interrogé dans sa dimension parisienne de 1919 à 2012. Les archives administratives, les comptes rendus des débats parlementaire et la presse quotidienne ont d’abord permis de se pencher sur l’invention d’une commémoration qui, si elle prend forme au cours d’un débat politique intense, se caractérise surtout par la mise en scène d’éléments intégrés dans le patrimoine matériel et immatériel de la Nation lors de la sortie de guerre autour desquels les organisateurs déploient un rituel de circonstance : la minute de silence. Filmée de sa création à 2012, la commémoration du 11 Novembre a aussi été étudiée, pour chaque époque, à travers le prisme des images animées. Mots clefs : commémoration, politiques publiques du passé, 11 Novembre, rituels, actualités cinématographiques, télévision
En 1919, la France sort d’une guerre au cours de laquelle elle a subi des pertes humaines jusque-là inimaginables. L’État est alors amené à inventer de nouveaux outils pour faire face au deuil et au traumatisme. C’est l’un d’entre eux, le 11 Novembre, que cette thèse a interrogé dans sa dimension parisienne de 1919 à 2012. Les archives administratives, les comptes rendus des débats parlementaire et la presse quotidienne ont d’abord permis de se pencher sur l’invention d’une commémoration qui, si elle prend forme au cours d’un débat politique intense, se caractérise surtout par la mise en scène d’éléments intégrés dans le patrimoine matériel et immatériel de la Nation lors de la sortie de guerre autour desquels les organisateurs déploient un rituel de circonstance : la minute de silence. Filmée de sa création à 2012, la commémoration du 11 Novembre a aussi été étudiée, pour chaque époque, à travers le prisme des images animées. Mots clefs : commémoration, politiques publiques du passé, 11 Novembre, rituels, actualités cinématographiques, télévision
In 1919, France is emerging from a war in which she suffered a number of casualties previously unimaginable. The State is then brought to invent new tools to deal with the trauma of war and grief that affects society. Among them, the commemoration of the Armistice of November 11, 1918 has crossed the century and persists as a major event despite the disappearance of the last veterans of the Great War. This thesis focuses on the national ceremony on November 11, held annually since 1922 in Paris. It aims first to look at the genesis of a commemoration, which was established after an intense political debate. The commemoration was organized around specific old and new rituals : the flags of the regiments disbanded and the unknown Soldier, or the minute of silence). This elements that became permanent emphasized the mournig dimension of the commemoration. Filmed from 1923 to 2012, the commemoration of November 11 has also been studied through the prism of the images broadcasted in the medias. Keywords: commemoration, publics policies of the past, Novembre 11th, rituals, newreels, television
In 1919, France is emerging from a war in which she suffered a number of casualties previously unimaginable. The State is then brought to invent new tools to deal with the trauma of war and grief that affects society. Among them, the commemoration of the Armistice of November 11, 1918 has crossed the century and persists as a major event despite the disappearance of the last veterans of the Great War. This thesis focuses on the national ceremony on November 11, held annually since 1922 in Paris. It aims first to look at the genesis of a commemoration, which was established after an intense political debate. The commemoration was organized around specific old and new rituals : the flags of the regiments disbanded and the unknown Soldier, or the minute of silence). This elements that became permanent emphasized the mournig dimension of the commemoration. Filmed from 1923 to 2012, the commemoration of November 11 has also been studied through the prism of the images broadcasted in the medias. Keywords: commemoration, publics policies of the past, Novembre 11th, rituals, newreels, television
Roudaut, Emmanuel. "Les controverses sur le jeu dans la societe britannique : le cas des paris sportifs (1890-1961)". Lille 3, 1997. http://www.theses.fr/1997LIL30003.
Pełny tekst źródłaBetting on horses became a mass activity in the 1880s. As ready-money betting had been prohibited since 1853, most punters had to resort to illegal practices. A national anti- gambling league, strongly influenced by the "nonconformist conscience", was set up in 1890 to fight mis "evil". The return to office of a liberal government facilitated a tightening of prohibition in 1906. This measure failed to eradicate street-betting, which was condoned and even actively supported by wide sections of the public. Subsequent campaigns focused on football betting and greyhound racing. However, they could not stop the development of football pools and greyhound tracks in me 1930s. In spite of its failure, the prohibition of street betting remained on the statute-book for more than half a century. Until i960, the leisure activities of millions of british people remained outside the law. This study examines the protracted survival of an unenforceable piece of legislation. One factor may have been the puritanical background of some (mainly) liberal and labour leaders, which led them to uphold what was increasingly regarded as a class- discriminatory text. Secondly, the reluctant recognition of the legality of football pools in the 1930s eased tensions which might have been exacerbated by an overall prohibition. Lastly, the ambivalent attitude of the police amounted to a de facto regulation. Both bookmakers and anti- gambling campaigners had a vested interest in maintaining this status quo, albeit for conflicting reasons. This work also attempts to identify the various links between the anti-gambling campaign and other "moral crusades". Placed in this perspective, the 1960 betting and gaming act can be regarded as a harbinger of the so-called "permissive society", although the extent of its permissivity may be questioned. The second volume consists of a collection of relevant statutes
Collier, Timothy. "L'École coloniale : la formation des cadres de la France d'outre-mer, 1889-1959". Thesis, Aix-Marseille, 2018. http://www.theses.fr/2018AIXM0603/document.
Pełny tekst źródłaAs the Third Republic acquired an imposing colonial empire, the creation of the Colonial School, after several unsuccessful attempts, met two requirements. On the one hand, it was necessary to rationalise the recruitment and training of colonial civil servants. On the other hand, it was essential to organise the rapidly-growing body of “colonial knowledge” into a quality syllabus. The conjunction of these two requirements was expected to contribute to the coherence of the French colonial project. The theorists of the Colonial School were convinced that colonisation was a manageable phenomenon. They therefore wanted to turn the school into a real research centre for colonial science. The “feedback” and “field expertise” of its former students were expected to form the basis for a real colonial doctrine which would, in turn, shape the great political decisions of the French government concerning its overseas territories. The study of the profiles of its leaders, who often had strong personalities, of its teachers, who were academics or professionals, and of the 4513 students of the school emphasises the great diversity of all the men - and of the few women - who devoted their lives, each in his or her own way, to the “French colonial enterprise”. The analysis of discourse and of the production mechanisms of “colonial knowledge” sheds new light on how colonisation “experts” tried to reconcile republican and “humanistic” ideals with the requirements of a domination-based project
Markovics, Alexis. "L'immeuble de rapport posthaussmannien à Paris : la production exemplaire, ordinaire et commerciale d’Albert Sélonier (1858-1926), architecte". Versailles-St Quentin en Yvelines, 2010. http://www.theses.fr/2010VERS010S.
Pełny tekst źródłaBetween 1893 and 1926, Albert Sélonier designed two hundred and twelve residential properties in Paris. He had a modest background and no qualifications so he stood for a professional group which devoted itself to the housing market in particular. As his buildings were erected following housing estate campaigns, they prove that the tenure of land depended as much on hygiene rules as on business objectives. The building is a strongly modeled architectural pattern whose plan is subject on its built structure. According to the neighbourhood, the surface areas and the provided services the range of rents can perceptibly change. Actually the rental value of a parcel determines its land value. Considering the price per square meter, the building cost, the property value and the return on invested capital, the competitiveness of these buildings intended to the accomodation of the bourgeoisie can easily be demonstrated. Designed for the common practice of Parisian life, the flats reproduce the usual partitions between day and night, reception and services. These parts are connected by differenciated passageways organized into a hierarchy - the flat results in the sum of " Louis Style" rooms with a strictly defined use. Corridors, anterooms and galleries connect them and they are separated by either open or closed doors according to the day and night hours. For their ordinary quality, the Albert Sélonier's buildings are representative of the Post Haussmann works whose inherited distinctive characteristics are being carried on after 1918
Rossi, Pauline. "L'Est parisien : genèse d'une reconquête (1919-1975)". Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040073.
Pełny tekst źródłaMost historians described the master plan established in 1983, in Paris, as the first attempt to reshape the Eastern part of the town. From the turn of the 19th century to the 1970's, the districts east of the city were considered as the realm of industry, of workers and cheap housing. These districts did not match the overall prestige of the French capital and their development was miserably lagging behind the rest of the city : public spaces as well as buildings and urban planning could not bear comparison with the luxury of the Western districts, not to mention the city centre. However, between 1919, when urban planning received a new impetus, and 1975, when the developers and the public understood the real value of the underestimated neighbourhoods, the districts east of the city were occasionally rebuilt. During this process, one often stressed the destruction resulting from a modernization process effort. It is time to reassess the full consequences of the last century
Deneufbourg, Clarisse. "Historique de l'alimentation en eau potable de la ville de Paris du Second Empire à nos jours". Paris 5, 1995. http://www.theses.fr/1995PA05P237.
Pełny tekst źródłaMasri, Maha. "Les représentations du théâtre de Musset à Paris de 1945 à nos jours". Paris 10, 1991. http://www.theses.fr/1991PA100003.
Pełny tekst źródłaIt seems worth while to take a look at how Musset’s plays have evolved in the context of theatrical history from 1945 to the present. How have their light and graceful rhythms been maintained? What conceptions have served to orientate stage director work over that period?. The regularity of these performances in addition to stage directors remarks attest to the fact that the sound and fury as well as the melancholy of Musset’s heroes have a very modern ping to them. In spite of considerable technological progress in theatre; his plays remain fragile things. This is one reason why they call for new forms of the atrical production such as diversity of place, contrasts of mood and greater fluidity on the stage. The plays also compel directors to appeal to the spectators imagination, thus keeping them constantly in tune with the text. Practically every performance brings with it some new strok of imaginative inspiration while remaining within the bounds of a true evolutionary breack through (except in the case of lorenzaccio). It is difficult to point to any continuity
González, Llovera Wilbert de Jesús. "Histoire critique du Musée National d'Ethnographie : des origines jusqu'au Musée des Arts et Traditions Populaires". Paris 1, 2002. http://www.theses.fr/2002PA010537.
Pełny tekst źródłaChevillot, Catherine. "Paris, creuset pour la sculpture (1900-1914)". Paris 10, 2013. http://www.theses.fr/2013PA100011.
Pełny tekst źródłaAround 1900, in the field of sculpture, the desire for a new formal universe is urgent. Sculptors strive to fine the laws of their art. During the 1890s, a new generation of sculptors appears. Most of them work closely with Rodin, but all try to define themselves in relation to him. This generation includes artists such as Bourdelle, Maillol, Bartholomé, Joseph Bernard, but also numerous sculptors from different countries, who show, with their respective personalities, convergent concerns. Gonzalez arrived in Paris in 1899, Brancusi and Nademan moved there in 1904, Gargallo made a trip 1903-1904. In 1900, Hoetger settled in Paris where he remained until 1907, Archipenko arrived in 1908. Lehmbruck lived and worked there between 1910 and 1910… Paris is not only the place where Rodin shines, attracts young sculptors and causes them to respond. It is also a melting pot which promotes exchanges of points of view in the field of arts and ideas. Sculpture does not remain an isolated world, and aesthetic debates concern its independence from the paint, its autonomous universe, its attraction to archaism and primitivism. New philosophical ideas grow in sculpture society. Bergson, William James, Nietzsche and Simmel use new concepts as intuition, mobility and suggestion, which substitute others like ratio, permanency and naturalistic representation: these philosophers become references that animate debates and fertilize the visual arts
Lambard, Frédéric. "Paris Saigon dans l'Azur, la ligne impériale d'Extrême-Orient (1926-1954)". Nantes, 2014. http://www.theses.fr/2014NANT3024.
Pełny tekst źródłaRolland, Juliette. "Pour tout l'art de Dieu : contribution à une sociologie picturale des églises parisiennes pendant l'ère paroissiale". Paris 5, 2003. http://www.theses.fr/2003PA05H061.
Pełny tekst źródłaTan, Lély. "La ville autoritaire : la métamorphose urbaine comme outil de légitimation politique : Shangai, (1990-2010), au regard du Paris du Second Empire, (1852-1870)". Thesis, Aix-Marseille, 2019. http://www.theses.fr/2019AIXM0680.
Pełny tekst źródłaShanghai, neoliberal example or sui generis case? Is Shanghai urban metamorphosis unique case in the world, irreducible and idiosyncratic model? No because Haussmanian Paris under the Second Empire experienced the same transformation. By comparing the two cities, we have elaborated a new city category: the authoritarian city. It is the result of a process by combining three factors: 1, Authoritarian political system 2, Modernization economic policy 3, Ambitious urban strategy. Within this context, the Authoritarian city has to be seen as a legitimization way for the political power. Unlike researchers who explain the Shanghai urban transformation as an endogenous phenomenon (Friedmann 2006, Logan et Fainstein (dir), 2010) or a number of others who estimate it as a result of Chinese market liberalization, we advocate a more comprehensive overview. The Authoritarian model is taken account Chinese characteristics and place Shanghai urban path as a “more ordinary city”. Because temporary aspect Is essential in our framework and because contexts are parts of the Authoritarian city, we deliberately use process approach (Mendes et al. 2013). The phenomenon is a whole process and cannot be separated from the economical, political or social contexts
Aubert, de Trégomain Roger. "L'État et les artistes peintres, cartonniers, verriers vivant en France sous la IVème République (1945-1959)". Paris 1, 2011. http://www.theses.fr/2011PA010505.
Pełny tekst źródłaTomiczek, Marek. "Juliusz Nagórski (1887-1944), un architecte, élève de l'Ecole des Beaux-Arts, entre Paris et Varsovie". Paris 4, 2000. http://www.theses.fr/1999PA040234.
Pełny tekst źródłaMuro, Gil Olga. "La terre natale et l'autre pays : les immigrés économiques espagnols au XXe siècle, à Paris et en région parisienne". Paris 5, 2004. http://www.theses.fr/2004PA05H024.
Pełny tekst źródłaTwo waves of Spanish immigrants are dealt with through life stories and participant observation. The main hypothesis states that the processes of acculturation of minority groups in contact with a majority group are historically dated and multifaceted. The hypothesis questions the School of Chicago concept of cycle of interethnic relationships, which even today implicitely informs as much the research on immigrants. The study confirms that there is no such thing as a unique scheme of acculturation. For the immigrant population 1920-1930, the country reffered to is France. For that of 1960-70, the model remains Spain. The divergences lead to differing types of acculturation. The study questions the relevance of notions of integration, assimilation and visibility of these groups. It underlines the importance of the family sphere. In questions of immigration, representations for outweigh objective data
Quintero, Oscar. "Racisme et discrimination à l'université : lectures croisées des sociétés française et colombienne à partir de l'expérience vécue des étudiants noirs à Paris et Bogota". Phd thesis, Université Rennes 2, 2013. http://tel.archives-ouvertes.fr/tel-00807356.
Pełny tekst źródłaGleyze, Valentin. "Alina Szapocznikow à Paris (1963-1973) : une histoire culturelle du champ élargi de la sculpture en France au tournant des années 1960". Electronic Thesis or Diss., Rennes 2, 2023. http://www.theses.fr/2023REN20042.
Pełny tekst źródłaThe last decade of the Polish sculptor Alina Szapocznikow's (1926-1973) career in Paris is a particularly rich case study for art history. Indeed, while the artist's work between her establishment in the French capital in 1963 and her death in 1973 belonged to sculpture, she challenged its traditional means. Its use of plastic, moulding and readymade objects, its increasing dematerialisation (in connection with conceptual art) and its utilitarian status (in the case of design objects) pushes its towards what has been called the "expanded field" of this medium, in a very singular way. The thesis thus aims to open up Szapocznikow's work in the light of a cultural history of this expanded field of sculpture, situating it within a history of materials, exhibitions, art criticism and the market, and placing it in dialogue with other artists of its time. Our study is divided into two parts which are two unfoldings of Szapocznikow's production in Paris. The first part looks at Szapocznikow and other artists' experiments with the utilitarian object, in the wake of the 1962 exhibition "Antagonismes 2 – L'Objet" at the Musée des Arts Décoratifs, which sparked a vital debate about the role played by artists in inventing "useful forms”. The second part focuses on Szapocznikow's final years, when her experience of cancer reviving the trauma of the concentration camps results in an individual mythology that serves a narrative of the self as a body preparing for imminent death
Roch-Fijalkow, Claire. "L'enseignement musical scolaire parisien (1819- 2002) : histoire des institutions, des conceptions pédagogiques, analyse de contenu de manuels". Paris 4, 2002. http://www.theses.fr/2002PA040135.
Pełny tekst źródłaThe Parisian school musical education appears in 1819. Dices its debuts, it exists thanks to two reference institutions, the Orpheon and the Conservatoire. Our method consists of a monograph which draws up the institutional history of this education. We put it in correspondence with an analysis of contents of six textbooks witnesses. During the period studied the Parisian school musical education is considered as "useful", for different reasons. It is collected as an art of enjoyment, a complement indispensable to the general education, a social regulator, an instrument of ideological satisfaction, a means of socialization and personal blooming. The Parisian example even if it is exceptional and premature allows to think about the school musical education today
Vakirtzian, Takoui. "Costas Tsaras (1928-1986) : l'oeuvre picturale des quinze dernières années". Paris 1, 1998. http://www.theses.fr/1998PA010507.
Pełny tekst źródłaCostas Tsaras was a greek artist who lived in Paris during the sixties. Contact with abstract movements within the paris school drew him to non-figurative painting. On returning to Greece, Tsaras expressed himself freely, using both abstractive and figurative language. The paintings of his greek period are inspired by historical events which strongly affected modern Greece (the dictatorship, the civil war and the German occupation). Pelasgia, the artist's birthplace, served as a further source of inspiration (portraits, scenes taken from everyday life, trees, rural architecture and landscapes). His work is also heavily conditioned by his own personal experiences, his political beliefs, his existential worries and inner conflicts, and by personal sorrows and joys. It draws on the myths, poetry and oral tradition of his native land. Although a number of his paintings do more or less form unities, the polymorphism of Tsaras'work prevents one from assigning it to any particular movement. He often opts for a technique on the basis of theme. Then again, he may adopt different artistic solutions not merely in relation to the overall theme, but within the same thematic unity. This may take place within the space of a single year ; the solutions are always subject to the artist's mood. This explain his coming and going between old and new colours and forms, as well as the use of recurrent motifs. Although his compositions are organised either around line or colour, from the early years of the period Tsaras shows a marked preference for colour, whether set within simple geometric shapes or explosed in spatters. Tsaras' art converges on art from primitive times, on Greek and byzantine art and on contemporary European art. It is symbolic and anthropocentric and combines the sacred with the secular, the emotional with the political, martyrdom with the people and love of nature with love humankind. It is a free art, beyond dogma, which perfectly reflects its creator's personality
Boirel, François. "Catholiques en laïcité : l'exemple de la paroisse universitaire : de Pierre Paris à Pierre Dabosville (1929-1963)". Lyon 2, 1998. http://www.theses.fr/1998LYO20044.
Pełny tekst źródłaTwo phenomena came out in the early 1990's which seemed totally contradictory. On the one hand, with two different cases, the "affaire du foulard" and the "affaire clovis", some of the fundamental principles of the french secularised (non-religious) state education system were brought into question ; on the other hand, in france there was a growing interest in religious cultures, which was demonstrated in the teaching programme by religious questions being included in history syllabuses following the 1995 reform. The paroisse universitaire has always been dealing with the non-religious issues since it was founded by joseph lotte in 1911 and its vocation was really to unite two distinct ideologies which opposed throughout the 20th century, i. E. Secularisation and catholicism. Made up of catholic lecturers from the three orders (later four when the technique schools appeared in 1951) of the french university, the paroisse universitaire breathed new life into the consideration given to the problem of state education, which reached its peak in 1951 when pope pius xii welcomed a pilgrimage to rome (the birth of an openly secularised system). As a key observer in the post-war state education struggles (philip, paul-boncour and lapie commitees, as well as in the marie-barange and debre laws), the paroisse universitaire became interested, encouraged by its national chaplain, the oratorian priest pierre dabosville (1907-1976), in current affairs problems and in particular the war in algeria and the sharp check imposed on working priests (1954), thus uniting all of the conditions for a renewal of the commitment of the french catholic intellectuals
Sellali, Amina. "Sous la ville, jadis la campagne : une mosai͏̈que de lotissements privés à l'origine de l'urbanisation de Belleville et de Charonne (1820-1902)". Paris 8, 2002. http://www.theses.fr/2002PA082059.
Pełny tekst źródłaYamana, Yoshiyuki. "Les ateliers de construction Schwartz-Hautmont : l'évolution d'un entrepreneur-industriel 1919-1977". Paris 1, 2002. http://www.theses.fr/2002PA010536.
Pełny tekst źródłaHayashi, Yōko. "Tsuguharu Foujita : l'évolution d'un artiste transatlantique et transpacifique : nouvelles recherches sur sa vie et son oeuvre de 1910 à 1950". Paris 1, 2006. http://www.theses.fr/2006PA010519.
Pełny tekst źródłaWendeln, Matthew. "Contested territory : regional development in France, 1934-1968". Paris, EHESS, 2011. http://www.theses.fr/2011EHES0035.
Pełny tekst źródłaThis thesis shows how government intervention shaped the remapping of industry and population in postwar France. C6mbining a national perspective with local case studies, it analyzes the regional development programs organized around the new conceptual framework of aménagement du territoire. I address a core tension: industrial decentralization was a Keynesian social policy, which brought new jobs to impoverished areas, but it also undercut the power of Parisian labor and created a kaleidoscope of new regional inequalities. Three chapters trace the complex relationship between projects of urban "containment," rural preservation, and new ideals of Keynesian modernization from 1934 to 1955. I examine the decentralization of defense industries, programs to deindustrialize Paris, and battles to control provincial labor markets during new development. The following two chapters address, respectively, the institutional and discursive bases of redistributive regional policies and the role of decolonization in shaping debates on inequalities in France. Next, I take the Citroën car factory built in Rennes, Brittany, as a case study of new rural industrialization from Rennes' pro-growth municipal politics to the company's recruitment of peasant workers and the community's contestation of its new employer. A concluding chapter covers key shifts in French industry during the 1960s: Parisian contraction, branch-plant expansion, and new high-tech metropolises. This dissertation is at the junction of social science research-on industrial geography and territorial governance-and the history of French industry and labor, urban policy, and state economic intervention
Nicolini, Isabelle. "La population d'origine russe en France : approche ethnobiographique des regroupements à Nice, Paris et Bussy-en-Othe : mémoires, rites et identités". Nice, 2005. http://www.theses.fr/2005NICE2001.
Pełny tekst źródłaThis thesis deals with the Russian emigration in France from 1917 to 1991. Using an ethnobiographic approach, it analyses the stakes of the transmission through the generations and the identity of the Russian settlement in Nice, Paris and Bussy-en-Othe. The aim of this work is to describe the basics particular to all of the three waves of Russian emigration and its own characteristics. This research concentrates on the sociological portrait of those three migratory groups, through their cultural roots, which has determined their community integration across the space and temporal changes. It points out the own transmission systems of these groups whose arrival at different decades induced a distinct behaviour in the ritualized practices and the process of the social transmission
Poudru, Florence. "Le ballet en France de 1929 à 1939 : l'Opéra et l'Opéra-Comique". Paris 1, 1990. http://www.theses.fr/1990PA010633.
Pełny tekst źródłaThe components of ballets are approched in seven chapters. The analysis of creations record-book is gathered by themes. Folklore and mythology are different subjects but the most frequently exploited. Music is often writen for ballets, but among choregraphers, some of them prefer musics wich are not composed for dance ; in publishing his manifeste du choregraphe, lifar thinks about these two arts : he applies his own ideas in icare. From the conception to the achievement, secneries and costumes are called up, without forgetting aesthtic, marerial anf dinancial aspects. Neither ballets of the repertoire, nor creations taken from the russians, are not neglected. The cursus of dancers is elaborated from the most retiring situation to the most prestigious one (salaries, social conditions, artistic profession). We can note the arrival of several russian people. Finally, we have attempted to measure the reception and the posterity of dancing creations during the tirty's
Seniuta, Isabella. "Histoire du Eye Club : les valeurs de la photographie : Paris-New York (1960-1989)". Thesis, Paris 1, 2020. http://www.theses.fr/2020PA01H004.
Pełny tekst źródłaThis thesis questions the invention of a phrase : The Eye Club. Invented by the American historian Eugenia Parry, it has been designating a grouping active in the 1960s-1980s composed of : Pierre Apraxine, Hugues Autexier, François Braunschweig, Françoise Heilbrun, André Jammes, Gérard Lévy, Harry Lunn, Philippe Néagu, Alain Paviot, Richard Pare, Sam Wagstaff and Robert Mapplethorpe. These twelve characters lived between France and the United States and are connected and related by several cultural and temporal factors. This grouping is not, strictly speaking, a circle of sociability, it is rather a constellation or a nebula made of scattered cultural positions and diverse artistic projects. The main question that guided this survey is the following: in what way does the Eye Club and its individual actors contributed to the re-evaluation of the commercial, aesthetic and institutional value of photography between the early 1960s and the late 1990s among Paris and New York ? The chronology begins with André Jammes' involvement in the world of photography and ends in 1989, the year of Mapplethorpe's death. An inquiry of archives and key players has brought to light some well-known names, and others that remained in the shadow of history. This study aims at unveiling an interdependent network of actors, whose common interests in photography have made it possible to establish, in one generation, the photography market as we know it today. The first volume of the thesis offers, from a transatlantic perspective; an investigation and analysis of this based on photographs and correspondences. The second volume brings together twenty-four interviews conducted over my five years of doctoral research. First with the main protagonists of The Eye Club (Pierre Apraxine, Françoise Heilbrun, Richard Pare and Alain Paviot), then with the families of The Eye Club and finally with various personalities from the world of photography (Frish Brandt, Peter Bunnell, Denis Canguilhem, Sylviane De Decker, Viviane Esders, Patrick Faigenbaum, Philippe Garner, Maria Morris Hamburg, Susan Kismaric, Hans Peter Kraus Jr, Harold Jones, Baudoin Lebon, Eugenia Parry, Françoise Reynaud, Samia Saouma and Daniel Wolf). Together, the two volumes sketch a history of encounters between photography enthusiasts that has, up to now, been mainly articulated in oral form between France and the United States in the 1960s and 1980s
Chevrefils, Desbiolles Yves. "Les revues d'art de l'entre-deux-guerres à Paris". Paris 1, 1992. http://www.theses.fr/1992PA010534.
Pełny tekst źródłaBy taking into account the leading papers published by more than 70 parisian art magazines between 1919 and 1939 (dadaist, surrealist and "esprit nouveau" magazines ; magazines devoted to abstract or sacral art ; magazines or bulletins published by art galleries ; scholarly magazines ; magazines on conventional art ; popular art magazines. . . ), the thesis relates the history and developments of this kind of publishing
Vary, Véronique. "Interactions entre les romans américains et français et la culture de masse (1929-1981) : un thème commun la grande ville, deux champs d'exploitation Paris, New York". Paris 3, 2004. http://www.theses.fr/2004PA030101.
Pełny tekst źródłaSince the nineteenth century, mass cultural production has, together with so-called « recognized » literature, made up a dual system. Variously called popular fiction, leisure and escapist literature or mass-produced literature, it is defined as « the Other ». Yet, what basically characterizes mass cultural production is its being at the centre of a whole, the two elements of which are interdependent. In the post-modern era it questions the very essence of fiction and the concept of literary art. A fact was established and led to the demonstration : mass-culture is linked to the development of « la grande ville ». The latter is made obvious through texts of varied nature and origins : police/detective thrillers (by G. Simenon, L. Malet, J. -P. Manchette, D. Hammett, C. Himes and J. Charyn, six French-writing and American authors chosen as representing the diversity of the genre), and a wide-range of other texts (« serious » or « recognized » novels, films, comic strips, etc. ) - all of them offering an insight into Paris and New York (two examples of the « modern city ») within the years 1930 - 1980. Then it became possible, using a theme-based method, to bring out the similarities and the contrasts between those texts. That is achieved first by means of a « structural » analysis of the rhetorical effects of spaces in a genre the narrative arrangements of which follow strict rules. We can then apply a sociocritical approach, as well as mythocritical focus and psychoanalytical study to examine the ideological polarisation and the reader’s identifying himself to the characters found in texts representative of mass culture
Asanuma-Brice, Cécile. "La transformation de la périphérie urbaine de Tokyo par les organismes de logements publics". Paris, EHESS, 2012. http://www.theses.fr/2012EHES0049.
Pełny tekst źródłaIf social housing estates stigmatized some territories in France, it does not seem to be the same everywhere, Japanese, meanwhile, maintain an image of these rural areas. Japan has experienced the same economic cycles than France, we questioned about a possible gap between the formal reality related, or mass production of housing for population of workers that was set near production sites and the chosen image and collectively conveyed the same place. Through this, it will demonstrate that the image can have a territory is less tied to the land itself, the urban form, as current practices in this area, constituting culture of the place. Economic policies chosen after the war were able to play in this process, recovery images of idealized imaginary space to produce and to accept residents see, for extreme enhancement of the image of the place, to achieve that the resident calls himself spaces whose planning has motivated solely by economic return from that product. Urban planning rules and multiply generated prohibited in enclosed spaces inhabited security discourse without success to question the motivations behind these societal dysfunction. The Japanese government, not having been able to meet its objectives, decides to cease its involvement in the housing sector and financial disengages from 2005. The triple disaster (earthquake, tsunami, nuclear power plant explosion in Fukushima) experienced by Japan March 11, 2011 could generate a new commitment of the State of one of the roles is to protect its population. But the current situation seems to confirm the intent of a transmission role of the welfare state to the private sector
Fornhoff-Levitt, Michèle. "Le théâtre yiddish de l'entre-deux-guerres à Paris (1919-1939). La judéité mise en scène". Electronic Thesis or Diss., Sorbonne université, 2023. https://accesdistant.sorbonne-universite.fr/login?url=https://theses-intra.sorbonne-universite.fr/2023SORUL113.pdf.
Pełny tekst źródłaThis thesis studies, from an interdisciplinary angle, the way in which modern Yiddish theater at its height during the interwar period, represents and performs Yidishkeyt – the Jewishness (lit. 'Yiddishness') of Yiddish-speaking Ashkenazi Jews from Eastern Europe – on the stages of the West, in this case those of Paris, considered in that period as the Western capital of art and entertainment. The in-depth study of the actors (artists, public and halls), the repertoire, the dramaturgy and theatrical codes aims to identify more specifically the transnational and diasporic character of this cultural identity through its dramatization, its performance, and its reception when it leaves, along with the human migrations, its place of anchorage to invest an often-hostile new territory. The conception of Yiddish theater as a socio-cultural system occupying a space that is both autonomous and dialogical in relation to French theatrical culture makes it possible to analyze this highly mobile, networked, and bonding theater, and to understand the cultural transfers on both sides – through the eyes of a Jewish and non-Jewish public. This dual perspective illuminates not only the idiosyncrasy but also the versatility of theatrical Yidishkeyt, as well as its unwavering affinity with the collective and ‘national’ memory of the Jewish people, if not with Judaism itself