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Artykuły w czasopismach na temat "Histoire de la méthode à l’âge classique"
Colombat, Bernard, i Jean-Marie Fournier. "Explorer les grammaires françaises de l’âge classique : le Grand Corpus des grammaires françaises et des remarques sur la langue (XIV e -XVIII e siècles)". Éla. Études de linguistique appliquée N° 211, nr 3 (29.01.2024): 349–63. http://dx.doi.org/10.3917/ela.211.0095.
Pełny tekst źródłaGuichard, Charlotte. "Du « nouveau connoisseurship » à l’histoire de l’art Original et autographie en peinture". Annales. Histoire, Sciences Sociales 65, nr 6 (grudzień 2010): 1387–401. http://dx.doi.org/10.1017/s0395264900037483.
Pełny tekst źródłaHalpern, Catherine. "Histoire de la folie à l’âge classique". Sciences Humaines Les Essentiels, HS16 (10.04.2024): 34–38. http://dx.doi.org/10.3917/sh.hs16.0034.
Pełny tekst źródłaBerlan, Françoise. "Le mot monument à l’âge classique. Histoire d’une relatinisation". Littératures classiques N° 104, nr 1 (9.12.2021): 13–26. http://dx.doi.org/10.3917/licla1.104.0013.
Pełny tekst źródłaPioffet, Marie-Christine. "Esquisse d’une poétique de l’allégorie à l’âge classique". Études littéraires 43, nr 2 (13.03.2013): 109–28. http://dx.doi.org/10.7202/1014727ar.
Pełny tekst źródłaDureuil, Simon. "Histoire de la folie à l’âge classique , une fiction pourvoyeuse de vérité". Recherches en psychanalyse N° 35/36, nr 1/2 (5.04.2024): 9–24. http://dx.doi.org/10.3917/rep2.035.36.0009.
Pełny tekst źródłaLecompte, Jérôme. "Jalons pour une philologie du discours". SHS Web of Conferences 78 (2020): 06009. http://dx.doi.org/10.1051/shsconf/20207806009.
Pełny tekst źródłaMartínez Bermejo, Saúl. "Pensée politique, surinterprétation et histoire classique. La réception de Tacite à l’âge moderne". Anabases, nr 13 (1.03.2011): 276–81. http://dx.doi.org/10.4000/anabases.1901.
Pełny tekst źródłaWatteaux, Magali. "Un discours de la méthode pour une histoire environnementale du haut Moyen Âge". Annales. Histoire, Sciences Sociales 77, nr 1 (marzec 2022): 85–95. http://dx.doi.org/10.1017/ahss.2022.40.
Pełny tekst źródłaValle, Daniela Dalla. "Béatrice Guion, Du bon usage de l’histoire. Histoire, morale et politique à l’âge classique". Studi Francesi, nr 160 (LIV | I) (1.04.2010): 141. http://dx.doi.org/10.4000/studifrancesi.7213.
Pełny tekst źródłaRozprawy doktorskie na temat "Histoire de la méthode à l’âge classique"
Alves, Vaz Paulo. "Imaginaire mythique de l’Afrique subsaharienne à l’âge classique". Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040201.
Pełny tekst źródłaDifferent travellers decided to visit and explore Africa either on their own or because of government, religious or commercial obligations. They had various motivations : some were really interested in this continent and wanted to know more about it, others went there to satisfy a desire of discovery and to share unknown lands for trade. As soon as they arrived visitors were struck by the difference - in physionomy - between the African population and the rest of the world. Travel stories - reports of bygone days - bring back the African peoples who were seing white people for the first time. The discovery of a new world, its exploration and literature are the root of the fascination for Africa. In this context the representation and the enchantment - that Sub-Saharan Africa aroused in the collective imagination of the Classical Age travellers - will be studied. Africa has become over the centuries a name which sounds mysterious, suggesting to the minds of men a stream of unusual landscapes. Myths were born from the observation of unknown lands through writing. In fact thanks to different travellers from previous centuries Africa shows in the collective imagination of Europeans from the 16th, 17th and 18th centuries two mythical and real pictures, opposed but complementary. This continent is described as a huge desert territory filled with fabulous beings where precious stones and gold grow or are washed away by the rivers flooded after rain. Africa is then described as a contintent with poor, ignorant, superstitious peoples : savages and cannibals. Everything looks different for travellers : men, civilisations, plants and lands so myths linked with Africa sprouted from them. The symbolic value of the myth is transferred in travel books and provide a common background of marvellous pictures
Schweitzer, Claudia. "Parole et Chant. Histoire des théories du son du français à l’âge classique (XVIIe – XVIIIe siècles)". Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA104/document.
Pełny tekst źródłaAll evidence shows that the sounds produced by the human voice, either spoken or sung, exhibit numerous relationships; nevertheless, their descriptions and analyses are not necessarily presented in the same light in texts dealing with grammar on the one hand, or music on the other, of which the scope (for both categories) can be either more or less theoretical or practical.For our study of the phonetics of French in word and song, we have chosen the 17th and 18th centuries, an era when music and language by definition present fundamental structural connections. This characteristic allows us to confront the two disciplines with each other in a logical way, and to re-connect two traditions, the close theoretical ties between which have weakened in the course of history.This system of connected histories also allows us to analyze the theories of sound as expounded by the grammarians, and then to anchor them in the cultural and epistemological framework of their epoch via three different approaches: acoustics, articulation and prosody. In addition, it allows the investigation of a factor which the authorities only touch upon with difficulty (and preferably between the lines), that of the variability of speech according to the speaker’s emotional state. The study thus confirms the efficacy of methods of connected history, through an interdisciplinary corpus which embraces questions of linguistics and, more precisely, phonetics
Es ist offensichtlich, dass die von der gesprochenen und der gesungenen Stimme produzierten Klänge zahlreiche Gemeinsamkeiten aufweisen. Die Beschreibung dieser Laute und ihre Analyse präsentieren sich jedoch in den grammatikalischen und musikalischen Texten, deren Ausrichtung zudem jeweils eher theoretisch oder eher praktisch sein kann, oft auf sehr unterschiedliche Art.Für unsere Studie über die französischen gesprochenen und gesungenen Sprachlaute haben wir als Zeitraum das 17. und 18. Jahrhundert ausgewählt, eine Zeit, in der Musik und Sprache per Definition grundlegende strukturelle Verbindungen aufweisen. Diese Charakteristik ermöglicht es uns, die beiden Disziplinen zu konfrontieren und zwei Traditionen, deren enge theoretische Verbindung sich im Laufe der Geschichte stark abgeschwächt hat, erneut zu verbinden.Der theoretische Rahmen der „connected history“ ermöglicht es uns, die von den Grammatikern ausgearbeiteten Ideen und Theorien zu den Sprachlauten unter drei verschiedenen Ansätzen (Akustik, Artikulation und Prosodie) zu analysieren und sie im kulturellen und epistemologischen Kontext ihrer Zeit zu verankern. Er erlaubt darüber hinaus Fragestellungen nachzugehen, die von den Grammatikern nur mit Schwierigkeiten (und oft zwischen den Zeilen) angesprochen werden können: die Veränderlichkeit der Sprache und ihrer Laute aufgrund der Emotivität des Sprechers. Die Studie bestätigt damit die Effizienz der Methoden der „connected history“ für einen interdisziplinären Korpus zu linguistischen (und, genauer gesagt, phonetischen) Problemen
Li, Xin. "Entre scène et hors scène : étude sur l’espace dans la tragédie française de l’âge classique". Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040082.
Pełny tekst źródłaThe 17th century has witnessed the full bloom of the creation of the tragedies in France. My thesis proposes a research on a less studied component in this theatre—space. The first chapter of my study tries to draw the geography of the classical age tragedy and establish the possible links between places and themes, then I address myself to the different spaces represented by the stage and their characteristics. The second chapter quits the stage to discover the offstage topography. We shall see the function of these offstage spaces, their exchanges with the stage and the dynamisms that come from these exchanges. Conforming to a purified aesthetics, the classical tragedy relegates numerous events behind the scene. In the second part of this chapter, I try to classify these events and question why they happen offstage. The third chapter approaches the space in speech, the space as it is experienced by the characters. I analyze how the characters associate the spaces (on stage or offstage) with different human experiences and destinies. In certain plays, space itself can be at stake. The stakes implicated in space will be analyzed. The fourth chapter focuses on the characters’ body and objects on stage. Characters’ movements and theatrical objects contribute to the creation of theatrical space. The tragic scene is overall a stripped space where the heroes are primordially ‘speaking beings’. Gestures and objects, when they exist, are highly significant on the tragic scene. Lastly I conclude that space is far from being an inert set in the 17th century French tragedy. It is an element that maintains different dynamics with characters
Dion, Nicholas. "Entre les larmes et l’effroi. Inflexions élégiaques et horrifiques dans le théâtre tragique, de l’âge classique aux Lumières (1677-1726)". Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040099.
Pełny tekst źródłaThis thesis investigates tragedies written between Racine’s retirement (1677) and the beginnings of a renewal of the poetics of tragedy in the 1730s, a period marked by the interruption of the careers of Crébillon and La Motte, the publication of La Motte’s Discours and Père Brumoy’s Le Théâtre des Grecs as well as young Voltaire’s return from England. First, it examines the ossification of the theatre and the poetics of tragedy in connection with early attempts to define the genre of elegy that highlight the porosity of the two genres, along with a revival of the aesthetics of horror arising from direct competition between the Comédie-Française and the successful lyrical tragedies of the Palais-Royal. Conclusions are subsequently applied to a study of the poetic and dramaturgical components of the era’s tragedies, based on an analysis of the modulations of elegy and horror that emerge from structural effects created by conflicting interpretations of the concept of simplicity. The modulations that permeate the character typology and the relationships between political plots and love plots are then analyzed from the same angle. Lastly, the thesis concludes with an exploration of the role of the motifs of horror and elegy in the pursuit of tragic effect, more specifically with regard to tears and fright, and the adaptation of the ancient model of the Heroïdes for French theatre, in which these two trends are combined
Durrive, Barthélemy. "Usage et fonctionnement d’un corps sans mode d'emploi. Que se joue-t-il entre l’intérieur et l’extérieur du corps dans la constitution d’une "physiologie du travail" (de l’Âge classique à la Belle Époque) ?" Thesis, Lyon, 2017. http://www.theses.fr/2017LYSEN080.
Pełny tekst źródłaThe phrase “work physiology” (referring to professional work) appeared during the International Hygiene and Demography Congresses between 1900 and 1904. It was first used to call for a brand new research program applying the methods and results of experimental physiology to the study of the body at work in several definite occupations. Creating its first official state-funded laboratory in 1913, this “professional work physiology” tried to launch – by means of well publicized case studies and declarations – a large-scale scientific enterprise for the scientific analysis of human work. The self-proclaimed aim was to rationalize legislation regarding fatigue, settle arguments (between employers and employees) on scientific grounds, and most of all optimize the organization of work. This specific kind of “work physiology” developed t first without the knowledge of Taylor’s research, but as soon as the beginning of the 1910’s, “work physiologists” started announcing that their own studies tended to improve taylorism – as they confirmed its principles while adapting its applications to the specificities of the living organism.This thesis takes the “1900 period” as a starting point in order to show how the scientific debates resulting in the formation of “work physiology” actually have roots in distant history – for the working body has been an object for scientific study since at least the late 17th century. Our hypothesis is as follows: the formation of a “work physiology” raises an important epistemological issue, namely that experts in the organic functioning suddenly analyze the way workers are using their own bodies. Thus, while changing their object, scientists claim that it is possible to evaluate and optimize this use of one’s body from a purely physiological standpoint. This thesis tries to shed light on the source and the evolution of this peculiar idea, throughout the 17th, 18th and 19th century. Focusing on a few famous cases studies in the scientific analysis of human work, we try to show how the modeling practices tend to mix statements about what happens inside the body with what is at stake outside the body, in the real-world work situation.While the facts analyzed here are historical in nature, the question asked to carry out the analysis is philosophical in nature: what can we learn from the motives developed by and the difficulties encountered by these physiologists of a new kind, regarding the claim to dictate a “correct use” of the body solely based on physiological knowledge ? The issue that this dissertation tries to raise boils down to this question: can one assign something like an instruction manual to the living body? – a question fully renewed in the fifties and sixties by the newly formed ergonomics
Bodenstein, Felicity. "L’histoire du Cabinet des médailles et antiques de la Bibliothèque nationale (1819-1924) : un Cabinet pour l’érudition à l’âge des musées". Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040071.
Pełny tekst źródłaThe Cabinet des médailles et antiques in the French National Library holds a particular place in the vast constellation of Parisian museums. Home to the so-called « bijoux savants » that founded western collecting culture since the Renaissance, it is at once a universal coin cabinet, one of the worlds foremost collections of cut stones and gems, but also a miscellaneous collection of antiquities representing all periods and places. As described in 1930 by one of its curators, it represents a « parangon of amateur cabinets from another time ». This thesis does not directly deal with its prestigious origins but tells one chapter of its long history, looking at how, from the period of the Restoration onwards (beginning with the direction of Désiré Raoul-Rochette in 1819) until the passing of Ernest Babelon in 1924, this cabinet of antiquarian culture and collections adapted and developed to the modern Republican museum age. The life of the department is first considered as a means of understanding the role of material culture and the place of the museum inside France’s national library in the nineteenth century. It then goes on to consider the development of the collections themselves and their scientific and museological exploitation in light of the rapidly expanding practice of archaeology and highly specialised auxiliary sciences of history
Mohseni, Saber. "Réception de Hâfez de Chirâz en France : examen critique de la première traduction intégrale française du Divân de Hâfez". Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCF011/document.
Pełny tekst źródłaThis thesis intends to offer a “traductological critique” of the first complete translation of the Divan of Hafiz in French, which, upon its publication, aroused both admiration and criticism and earned its translator, Charles-Henri de Fouchécour, several literary awards and titles. In the first part, entitled "In Search of the translator," we focus on C. H. de Fouchécour as a researcher and specialist in classical Persian literature and translator of the Divan of Hafiz. In the first chapter, we examine his career from its beginning, to reveal how he approaches and presents Persian works. The second chapter is devoted to the translator that is C. H. de Fouchécour and reveals how he conceives translation, the specific perspective he adopted to translate the Divan of Hafiz and finally his “horizon traductif”, in other words the situation of the poetic translation in France and especially the history of the translation of Hafiz’s poems in French. The second part of this research, "Translation and poetry", is devoted to the source text and the translated text; that is to say, in the third chapter, we present a new reading of the Hafizian thought, paying a special attention to the form of his poetry. In the fourth chapter, having established a three-dimensional method of comparison, based to the reading presented in the previous chapter, we compare five ghazals of Hafiz with their French translations by A. Guy, G. Lazard and C. H. de Fouchécour
Chabout-Combaz, Babette. "Système de la nature et connaissance historique à l’âge classique : autour de l’Encyclopédie de Diderot et D’Alembert". Thèse, 2017. http://hdl.handle.net/1866/19379.
Pełny tekst źródłaThe purpose of this research is to explore three « experiences of thought » described in Diderot’s oeuvres, in particular in the Promenade du sceptique, the Encyclopédie and the Rêve de D’Alembert, each of which reveal in themselves the image of thought’s activity. It proposes to elucidate a kind of historical knowledge (of history in general) by examining the experience of meaning that constitutes these works of “fiction”, in which one uncovers the ontological status for objects supplied by experience, as well as the role that history plays in these experiences. The first chapter presents nature as both a fixed and disordered, something which the observer interprets and even outlines via an analogical narrative. Diderot also criticizes Descartes’ cogito, which is orientated in particular towards to the present, or the moment of enunciation. History, as a literary genre, is practiced subversively and aimed at criticizing intellectual erudition. The second chapter deals with the complexity of the structure of the Encyclopédie as well as its internal operation, which presents a historicist conception of experience in and through the accumulation of facts and successive redefinitions of the limits of knowledge. His work as a whole has an ambiguous relationship with history and entails several historical practices. The third chapter explicates a form of historical knowledge internal to the experience of the self in the memory that constitutes it, and points to a “metaphysics” of poetry. This poetry opens up the possibility of thinking the necessary relations that make up the world.
Książki na temat "Histoire de la méthode à l’âge classique"
Le Boulluec, Alain. The Notion of Heresy in Greek Literature in the Second and Third Centuries. Redaktorzy David Lincicum i Nicholas Moore. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780198814092.001.0001.
Pełny tekst źródłaCzęści książek na temat "Histoire de la méthode à l’âge classique"
Biezunski, Michel. "1. Son et lumière à l’âge classique". W Histoire de la physique moderne, 13–43. La Découverte, 1993. http://dx.doi.org/10.3917/dec.biezu.1993.01.0013.
Pełny tekst źródłaHalpern, Catherine. "Histoire de la folie à l’âge classique". W Pensées rebelles, 41. Editions Sciences Humaines, 2013. http://dx.doi.org/10.3917/sh.colle.2013.02.0041.
Pełny tekst źródłaHalpern, Catherine. "À propos de… Histoire de la folie à l’âge classique". W Michel Foucault, 41–46. Éditions Sciences Humaines, 2017. http://dx.doi.org/10.3917/sh.lhere.2017.01.0041.
Pełny tekst źródłaLe Blanc, Guillaume. "Chapitre 5. L’histoire de la folie à l’âge classique. Une histoire de la pauvreté". W Usages de Foucault, 63. Presses Universitaires de France, 2014. http://dx.doi.org/10.3917/puf.hen.2014.01.0063.
Pełny tekst źródłaCarvallo, Sarah, i Arnaud Macé. "La vie et ses analogies : une histoire des discours et des pratiques savants". W Analogies végétales dans la connaissance de la vie de l’Antiquité à l’Âge classique, 9–29. Presses universitaires de Franche-Comté, 2023. http://dx.doi.org/10.4000/books.pufc.51626.
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