Rozprawy doktorskie na temat „Musée de Valence (France)”
Utwórz poprawne odniesienie w stylach APA, MLA, Chicago, Harvard i wielu innych
Sprawdź 50 najlepszych rozpraw doktorskich naukowych na temat „Musée de Valence (France)”.
Przycisk „Dodaj do bibliografii” jest dostępny obok każdej pracy w bibliografii. Użyj go – a my automatycznie utworzymy odniesienie bibliograficzne do wybranej pracy w stylu cytowania, którego potrzebujesz: APA, MLA, Harvard, Chicago, Vancouver itp.
Możesz również pobrać pełny tekst publikacji naukowej w formacie „.pdf” i przeczytać adnotację do pracy online, jeśli odpowiednie parametry są dostępne w metadanych.
Przeglądaj rozprawy doktorskie z różnych dziedzin i twórz odpowiednie bibliografie.
Vidal, Geneviève. "L'appropriation sociale du multimédia de musée : les interactions entre pratiques de musée et de multimédia de musée". Paris 8, 1999. http://www.theses.fr/1999PA081637.
Pełny tekst źródłaGonzález, 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 źródłaPeyrouzère, Frédérique. "Le musée en partage : Etat et musée sous le ministère de Jean Zay (1936-1939)". Paris 1, 1999. http://www.theses.fr/1999PA010529.
Pełny tekst źródłaThis work is an analysis of the French political approach for national museums under the front populaire ; ministry of Jean Zay from 1936 to 1939. Socially, intellectually, administratively and politically it recounts one of the highlights of French museums during this period. These one which prepared throughout the reflexions engaged as well as an international, national and local scale, the context, the administrative framework and the approach of the contempory museums' action plans regarding social affairs. This study comprises three main axis. The first is what we call a projet populaire ; and points to one of the new political major targets which was to popularise ; the museums, giving access to all citizens. The second axis approaches the state's will to spread the museum's activities throughout France, trying to even-out the differences between Paris and the countryside. It is thanks to this national project ; and it's unifying vocation that the state succeeded. The third axis results from the first two. It is formed around the notion of the projet pour l'art vivant ;. It confirms the state's wish to introduce museums in the social environnement implicating its' contemporaries and especially the art vivant ; this art moderne ; which during the 1930's was not represented on the museum walls
Meyer, Anne-Doris. "Le "musée personnel" de la collection privée au Musée public : parcours de l'objet d'art en France au XIXème siècle". Strasbourg 2, 2001. http://www.theses.fr/2001STR20001.
Pełny tekst źródłaSaëz-Guérif, Nicole. "Le Musée Grévin (1882-2001) : cire, histoire et loisir parisien". Paris 4, 2002. http://www.theses.fr/2001PA040220.
Pełny tekst źródłaThe Musée Grévin was inaugurated with great pomp on 5th June 1882. Arthur Meyer, the founder, wanted to create a popular attraction and a money-business. The role of Grévin, the designer, was insignificant. The Musée Grévin, adhered to wax-modelling traditions a thousand years old and soon became the only rival to Madame Tussaud's. The museum's ideal position on a Parisien Boulevard, enabled it to become a distraction equal to the theatre or panoramas. The popularity of the museum also owes much to Gabriel Thomas, whose family continued to direct the Musée Grévin for four generations. The morbid attraction of death and the wish to create historical and pedagogical scenes are a possible explanation for the lasting success of the institution, which at the height of its fame possessed seven franchised museums in France. Modernisation came in 1999, when the museum was bought by Asterix Group
Floriant, Sonia. "La collection de musée comme objet sémiotique : La Réunion, la collection du Musée Léon Dierx". Besançon, 2002. http://www.theses.fr/2002BESA1036.
Pełny tekst źródłaLatouille, Jean-Jacques Avanzini Guy. "L'université de Valence en Dauphiné (1452-2000)". Lyon : Université Lumière Lyon 2, 2003. http://theses.univ-lyon2.fr/sdx/theses/lyon2/2003/latouille_jj.
Pełny tekst źródłaJonchery, Anne. "Quand la famille vient au musée : des pratiques de visites aux logiques culturelles". Paris, Muséum national d'histoire naturelle, 2005. http://www.theses.fr/2005MNHN0050.
Pełny tekst źródłaPeople going to museums as families is an important and growing segment for attendance. The research presented here––which is drawn from two quantitative and qualitative surveys at three museums in Paris––describes the people making up family groups who visit museums and shows their motivations, strategies and visiting habits. The composition of these groups reflects the change in structure of modern families, particularly the move back to the nuclear family, in whatever configuration. Visiting is a particular context and just one of many options for spending time. It calls into point and questions the aesthetics of museum facilities. Given this diversity, the motivations for visiting can be broken down into three broad categories: the museum as an educational experience, the museum as a means for sharing and the museum experience as way toward self-discovery. In this way, going to museums contributes to both making children members of society and their personal growth. It also adds to various aspects of family building. Family visits to museums require time and experience. They come about in stages. These visits are also an identity confirming behaviour, involving the individuality and status of each person as a family member. As identity related issues may generate tensions during a visit, it also transforms the apprehension of museums on the part of adults. Parental status equally impacts on relationships to museums as institutions. Though in quantitative terms families are shown to be as elitist as visitors as a whole, on the qualitative side, their roles as parents enables those with less education or who are unfamiliar with museums to attend. Visiting has been shown to be a key time for negotiating relationships within families. It also affords an opportunity for initiating the younger members, and, for parents, an occasion for rediscovery (or discovering for the first time). Taking this into account constitutes a major stake in the cultural policy of museums
Alary, Luc. "De l'art vivant à l'art moderne : genèse du Musée national d'Art moderne". Paris 1, 1997. http://www.theses.fr/1997PA010526.
Pełny tekst źródłaThis doctoral thesis deals with the process of formation of the "Musée national d'Art moderne" from the creation of the "galerie royale destinée aux artistes vivants" in 1818 until the opening of the "Musée national d'Art moderne" in 1947. The history of the institution, through its successive definitions, brings into light the birth of a museological consciousness for modern art, closely connected with political change, architectural and technical improvements, debates about classifying methods. As a whole, this thesis could be an alternative history of modern art as a part of national patrimony
Bompis-Dartout, Annie. "La mise en musée in situ du patrimoine naturel dans le domaine des sciences de la Terre : analyse muséologique d'un musée de site, l'Espace Pierres Folles - St-Jean des Vignes (69)". Lyon 1, 1995. http://www.theses.fr/1995LYO10219.
Pełny tekst źródłaWelger-Barboza, Corinne. "Le devenir documentaire du patrimoine artistique : perméabilités du musée aux technologies numériques". Dijon, 1998. http://www.theses.fr/1998DIJOL023.
Pełny tekst źródłaThe hypothesis is put forward of a convergence between an anticipated entrance of contemporary art works into the artistic heritage, and the process of documenting these works - a process facilitated both by hypermedia techniques and by an increasingly industrialized cultural context. Although museum professionals use these techniques of archiving and numerical distribution for documentary purposes, they are in fact designed for a general public that has embraced the ideology of the + virtual. More importantly, this new trend of a documentary approach to art creates a situation in which numerical technologies are able to gain entrance into the art-heritage world. In return, these same technologies assist in the documentation of the works that constitute our heritage by offering increased accessibility to image and information -related resources - the aim being to provide an exhaustive record of this universal heritage (including all periods and geographical regions) that will be available to users in such a way that temporal and spatial considerations are no longer a factor. These transformations are examined from a historical perspective in which we see the institutional construction of an art heritage system that begins with the french revolution. It then becomes clear that the contemporary manner of bringing works into the fold of the national art heritage is different in that it appears to be based on an anticipatory mode, a mode thats is operative in all those areas of social and cultural production that are concerned by a policy of extensive heritage inclusion
Costa, Sandra. "Des ateliers au musée : histoire du classicisme bolonais en France (1648-1816)". Paris 1, 1990. http://www.theses.fr/1990PA010582.
Pełny tekst źródłaBourdeloie, Hélène. "Usages du multimédia d'art et de musée et pratiques culturelles : Regards croisés sur des légitimités". Paris 2, 2007. http://www.theses.fr/2007PA020099.
Pełny tekst źródłaStara, Alexandra. "Lenoir, Quatremère and the hermeneutic significance of the Musée des Monuments français". Thesis, University of Oxford, 2000. http://ora.ox.ac.uk/objects/uuid:ad27bf29-8c6f-4926-949e-2395c9b7099b.
Pełny tekst źródłaGombault, Anne. "La construction de l'identité organisationnelle : une étude exploratoire au Musée du Louvre". Bordeaux 4, 2000. http://www.theses.fr/2000BOR40032.
Pełny tekst źródłaAbsa, Dembélé Anna. "Le Sénégal dans les collections du Musée de l'Homme : histoire et processus de collectes". Paris, Muséum national d'histoire naturelle, 2001. http://www.theses.fr/2001MNHN0044.
Pełny tekst źródłaGétreau, Florence. "Le Musée instrumental du Conservatoire de Musique de Paris : Histoire et formation des collections". Paris 4, 1990. http://www.theses.fr/1990PA040405.
Pełny tekst źródłaChairi, Elpida. "Les fragments d'architecture grecque conservés au musée du Louvre". Paris 1, 1989. http://www.theses.fr/1989PA010634.
Pełny tekst źródłaThe fragments of Greek architecture, which are conserved in the Louvre Museum are very various. They come from different sites and monuments, represent different architectural types of elements and date between the archaic and the late Hellenistic period. Discovered during the surveys and excavations of numerous French missions, organized during the 19th century, in Greece and Asia minor, they come from different types of monuments : temples (like Assos, Artemis leucophryene at Magnesia on Maeander, Apollon of Didyma, Athena of Priene, Apollon of Delos and Bassai, Zeus of Olympia), public buildings (Miletus, Phocaea, Pella, Eleusis), or palaces, like vergina. Several fragments come from unknown buildings. They are partly published but these publications are ancient and non complete and have not been revised recently. The interest of these fragments must be proved because they have to be better known and valorised
Marconi, Emanuele. "Le Musée des instruments à vent de La Couture-Boussey : genèse et développement d'un musée ouvrier". Electronic Thesis or Diss., Sorbonne université, 2024. http://www.theses.fr/2024SORUL039.
Pełny tekst źródłaThe La Couture-Boussey Wind Instrument Museum (Eure Department, Normandy) was founded in 1888 by members of the “Chambre Syndicale des Ouvriers en Instruments de Musique (Finisseurs)”. The only example of its time as a French museum dedicated to music instrument making, it was founded both in connection with the growing interest in public collections of musical instruments which took shape at the beginning of this century, and in the context of the workers' strikes of the 1880s. Its purpose is to promote and perpetuate the know-how of the makers of the La Couture basin, a group of about ten villages around La Couture-Boussey, epicentre of the manufacture of woodwinds since the beginning of the 17th century. Its history, characterized by alternating periods of activity and abandonment, reflecting the socio-economic dynamics of the village, can be read through the main events of the 20th century: the two World Wars, the crisis of the 1930s, the economic boom of the 1950s and 1960s and, finally, the globalization of the market and the closure of businesses.Developed from numerous archival sources collected and for the most part unknown to date, this thesis successively addresses, with an approach and new results, the history of the making of woodwinds in La Couture- Boussey, the deconstruction of the myths of its origins, the strikes at the origin of the creation of the Union, the history of the Museum, and that of its collections of instruments and tools, of its library, while highlighting its leading role at the European level, at the end of the 19th century, in the creation of copies of old musical instruments (facsimiles) which constitute a founding part of his collection
Lee, Kwan-Seok. "La contribution d'Henri Ciriani à l'architecture du musée contemporain". Paris 1, 1997. http://www.theses.fr/1997PA010623.
Pełny tekst źródłaThe first chapter of the first part described classical museums by the nineteenth century and modern museums in the early and middle of the twentieth century. Then, contemporary museums completed since the eighties were studied and seven important museums in Europe and U. S. A. Were principally analyzed in the second chapter. It was also mentioned about other contemporary museums which had the related architectural characteristics. The second part considered two museums of Ciriani. The first chapter treated his architectural theories. The second chapter analyzed the archeological museum of Arles constructed between 1983 and 1995. The third dealt with l'historial de la grande guerre which was designed in 1987 and completed in 1992. The main themes in this study are as follows. The natural light and the circulation which have been proposed by Ciriani show that he applied his architectural theories skilfully to the architecture of museum according to the asks of the program. The solution of circulation based on the "modern space" and on the conception of the "promenade architecturale" in close liaison with the natural light is unique. The openness and closeness of the space and the search for the diverse possibilities of the natural light generated the exhibition space in which not only the architecture is alive but also it satisfies the function as the epidermis for the exhibits. The solutions for the exterior of Ciriani's museums show his new point pf view about the junction between "the new" and "the ancient"
Lemny, Doïna. "Le milieu artistique et culturel de Brancusi : essai d'investigation à partir du legs au Musée national d'art moderne". Paris 1, 1997. http://www.theses.fr/1997PA010665.
Pełny tekst źródłaConstantin Brancusi's work and personality have been the object of several art historians' research. Many of them have based their analysis upon a number of documents which are kept at the documentation center of the national museum of modern art. Brancusi's bequest is often quoted. However, it has never been analysed and revealed in its entirely because of the strange ill-fortune these archives - which were found in the artist's studio - have met. Our present analysis is based upon Brancusi's bequest and includes research led in other public and private archives. Its aim is to provide an understanding of the cultural milieu and the personality of "the inventor of modern sculpture". The discovery of his library has allowed us to penetrate the artist's cultural atmosphere and his collection of records have given us an idea of his taste in music. The correspondence between Brancusi and marcel duchamp has been the starting point of more subtle research to understand the friendship between the two artists. This relationship has, so far, been reported by the specialists of Brancusi while only being evoked by those of duchamp. The files concerning the bird's trial (1926-28) contain Brancusi's correspondence with lawyers and a book of clippings put together by the artist. These count amidst the most interesting files. Overall, each file - even if it is more or less complete - unravelsseveral episodes of the sculptor's life and creation. Interviews with art historians, artists and cultural personalities who knew him, were another important documentary source in order to help restore the famous atmosphere of Brancusi's studio which the artist had organised as a museum display
Lemieux, Ariane. "L'artiste et l'art contemporain au Musée du Louvre des origines à nos jours : une histoire d'expositions, de décors et de programmations culturelles". Paris 1, 2011. http://www.theses.fr/2011PA010645.
Pełny tekst źródłaMauuarin, Anaïs. "L'éthnologie à l'épreuve des images : photographie et ethnologie en France, 1930-1960". Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H057.
Pełny tekst źródłaOften looked upon as a « discipline of words », French anthropology saw the birth of a real photographic image culture within its ranks from the 1930’s onward. The present dissertation wants to contrast this fruitful moment in the relationships between anthropology and photography, and to consider the evolution of the place and the status of pictures until the 1960’s. In this end, its draws on discourses dealing with photography and on photographic institutional policies – at the muséed’Ethnographie du Trocadéro, the musée de l’Homme and the Institut Français d’Afrique Noire – and open up this in dialogue with an analysis of distribution medium and field practices.Thus, this work reveals that an ambitious visual project is developed in the 1930’s from theTrocadéro, which contributes to the creation of an anthropological audience. It heightens throughout the following decades, with the success of the musée de l’Homme’s photo library and the renewed craze for exoticism and exploration. However, the mutations of the institutional landscape together with the colonial tensions of the 1950’s put into question this predilection for pictures: the interestfor using photographs, for collecting and spreading them is no longer agreed upon unanimously
Grognet, Fabrice. "Le concept de musée : la patrimonialisation de la culture des "autres" : d'une rive à l'autre, du Trocadéro à Branly : histoire de métamorphose". Paris, EHESS, 2009. http://www.theses.fr/2009EHES0396.
Pełny tekst źródłaSince the opening of the Musée d'Ethnographie du Trocadéro in 1882, the meaning of the ethnographic museum has been transformed. One established, the thnographic museum's role was to be the centre point of newly-emerging discipline. Distionctfrom fine art and natural history museums, the institution adopted a universalist perspective to bring together the material archives of all those aspects of culture destined to diappear due to colonialism and industrialisation. Today, French ethnographic heritage is divided according to dichotomy that foregrounds the geographical origins of objects and that corresponds to a certain construction of alterity. The collections from metropoloitan France are linked with those from pre-industrial rural Europeans within PMuCEM, while the ethnographic collections of the "rest of the world" are currently grouped together un der the label "primitive arts" in the Musée du Quai Branly. The museums created in the 1930s - the Musée des Colonies, the Musé de l'Homme, the musée des Arts et Traditions populaires - therefore either disappeared or were transformed as the year 2000 approached and a schism appeared to open up between the museum world and ethnologic research. How did this happen ? This thesis is - in part and wholly at once - a diachronic approach towards the construction of the ethnographic object, an institutional history that focuses in particular on the museums that succeeded the Trocadéro, a social history of the role held by ethnographic museums in France and near ten-year-long survey of life inside the Musée de l'Homme
Bordier, Julien. "Le musée national entre principe républicain et question démocratique". Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100028/document.
Pełny tekst źródłaAs a revolutionary invention, art museum opened to the public in France is an institution that offers a contradictory space, in different levels: in the conflicts of the origins of the museum, in the validation of its relation of an institutionalized power, in the conceptualization of its public dimension. Mixing the particular history of this institution with an evolution of political issue, is a way to name these contradictions. This highlights a tension between two antagonistic poles, but in a constant dialogue, republican principle and democratic question. This conflictual dialogue has to be understood as an identification process and its crisis. This tension appears relevant to analyze national museums and cultural Policy during the french Fifth Republic. Therefore, national museum seems to be a republican institution and how “cultural democratization” enunciate itself with democratic question. From these reflexions, evolution of national museums and cultural Policy since 2000, and, the large amendments they know, are analyzable. Amendment of national museums presents itself as a modernization of their management and administration, by alleviating their ministerial tutelage. We analyze these amendments effects from two examples, Louvre and Orsay museums, by studying legislative dispositions, public statements of their directorate and interviews with employees in the museums. After this amendment movement has been contextualized and defined, it is analyzed from the tension between republican principle and democratic question. It is reconfigured and shifted in a new kind of museum appearing: company-museum
Louis, Stéphanie-Emmanuelle. "Le musée au pluriel (1944-1968) : faire voir le patrimoine cinématographique en France à l’heure de l’expansion cinéphile". Paris, EHESS, 2014. http://www.theses.fr/2014EHES0156.
Pełny tekst źródłaHow cinema has become a heritage in France? If the process began in the late nineteenth century, it experienced a significant acceleration after the Second World War and then benefit from the expansion of cinephilia. The institutionalization of film culture coincides with the development of dedicated museums. The Cinematheque française is one of the most representative. Its art of display is directly inherited from the interwar years cinephilia. And soon several groups decline it across the country to legitimate their passion for film. Besides a phenomenon musealization, decentralization and local appropriation of heritage related practices are observed. This create a new world of film art, in which occurs l'Affaire Langlois in 1968 and the following State decision to create a Department of Film Archives within the CNC. State thus became a full agent of safeguarding film heritage. But, by giving priority film preservation, it also broke with the previous model developed as museum is indeed organized around spectacular practices
Coullaré, Béatrice. "La section d'art de la médaille du musée national du Luxembourg (1868-1940)". Paris 4, 2000. http://www.theses.fr/2000PA040256.
Pełny tekst źródłaSegreto, Nora. "Collectionner sous le Second Empire : l’exemple du Musée Rétrospectif de 1865". Thesis, Sorbonne université, 2021. http://www.theses.fr/2021SORUL002.
Pełny tekst źródłaIn 1865, just one year after its foundation, the Union Centrale des Beaux-Arts Appliqués à l’Industrie organized its first exhibition called Musée Rétrospectif. About 250 collectors took part in it with a selection of their art objects. At the times of the first universal exhibitions, during a new phase of industrial, commercial, and social development, the State understood that only arts could offer a guarantee for France to achieve the highest international success. In fact, the declared aim of the collectors involved in the exhibition was suggesting the French industrialists that winning a prize at the universal exhibitions was possible only if they could inspire their products from the art works. However, since the exhibition was public, there were also some other aims: educating the public to arts, proposing an aesthetic paradigm, and channelling the aesthetic choices of the visitors. Actually, most of them were also among the consumers of high-end products, who could later be interested in buying industrial and light manufacture products inspired by the art works they had admired at the art exhibition. The collectors of the Museé Rétrospectif have been not only among the most important social actors of their times, but they could be considered those who interpreted in the best way the pedagogical and educational vocation of the Second French Empire and the 19th century
Couette, Déborah. "L'Aracine, de l'association au musée : histoire d'une collection d'art brut (1982-2010)". Thesis, Paris 1, 2019. http://www.theses.fr/2019PA01H043.
Pełny tekst źródłaL’Aracine is a non-profit association founded in 1982 by Madeleine Lommel with Michel Nedjar and Claire Teller, to collect, preserve and exhibit a public collection of art brut in France. Conceived in tribute to the research of artist Jean Dubuffet, the collection – which was given to the Modern Art Museum of Villeneuve-d’Ascq in 1999 ― is a rare attempt to establish art brut’s legitimization and legacy. This PhD – story of an association, a collection process and a collection – reconsiders the origin and development of the L’Aracine project and casts a light on the amateurs whose role was to establish this 20th century patrimony
Latouille, Jean-Jacques. "L'université de Valence en Dauphiné (1452-2000) : d'une intention pédagogique à une volonté politique : les enjeux d'une implantation et d'un développement paradoxaux". Lyon 2, 2003. http://theses.univ-lyon2.fr/documents/lyon2/2003/latouille_jj.
Pełny tekst źródłaThe university of Valence is but a special case among all univesities. Yet its paradoxical position lies in its location and expansion in the city of Valence rather than in Grenoble which makes Valence university a subject for study and thus throws a light on the understanding of the particular case. By taking a close look back at its evolution through the last hundred years or so, one may spot its ability to subscribe precisely to the social tendencies of the various periods of recent history. One may then trace back its gradual process of change, which by making it a social place has definitely established a link with its social background. Thanks to this study, we can thus bring out a university framing, which allows us to understand how the institution can adapt to tensions, either from pedagogy and from politics. These tensions do correspond a complex interplay between global and local factors, which might tend to overwhelm that university. Indeed it has largely won its survival and expansion to a particular ability to get independent by maintaining its frame in a system in which a certain social class has been ruling and lasting
Barbedor, Isabelle. "Le musée, une histoire d'art entre l'histoire de l'art et l'histoire du goût, Angers – Nantes -Rennes (1790-1990) : peintures et sculptures XVIIIe - XIXe siècles". Rennes 2, 1993. http://www.theses.fr/1993REN20017.
Pełny tekst źródłaThe purpose of this thesis is to study the evolution of the relationships between art and art gallery, starting from the example of paintings and sculptures of XVIIIe and XIXe centuries, preserved in the art galleries of Angers, Nantes and Rennes. Its purpose is to show how the creation of the art gallery, regarded as a place of preservation and study, concerns and transforms the finality of art, by opening for it, an artificial space which inaugurates modernity. The first part is devoted to the period of emergence of the art gallery, which is characterised by the transition from private collections to public collections. It includes the study of the confiscations of revolutionary period and the attributions of works of art by the state and their influence on the art gallery, during the first part of the XIXe century. The second part is devoted to the study of the function and the using of art gallery, between 1850 and 1918. It describes relationships of the principal actors of art gallery (state, town, collector, artist) with art and their influence on this public space which becomes one of the symbols of urban world by securing the durability of its own cultural traditions. The third part presents the art gallery and its relationships with art history which appears as a new operator of the museal world. It shows, how art history substituted to the artist himself, inaugurates a new relation with art and modernity
Sin, Sangchel. "Présentation des ensembles d’arts asiatiques en France, XVIIIe – XIXe siècles : évolution des conceptions muséales". Paris 4, 2008. http://www.theses.fr/2007PA040186.
Pełny tekst źródłaArtistic and scientific collections that originate from regions outside of Europe maintain an ambiguous place in the museum collections of France. The Far East, as it relates to China, Japan, and Korea form an important part of these extraneous collections, and as such, do not share the same aesthetic qualities and criteria. These collections were associated closely with knowledge or savoir, and their presentation required establishing a new rational and aesthetic field of knowledge, one that had to satisfy the taste in curiosities and artistic sensibilities. This study is a historical analysis of the creation of a museum housing the collections of the Far East in France. It engages with the historiography of collecting and with museological conceptions and analyzes the role of various participants in the making of these fields of knowledge. I hope to identify the major elements that made up the particular features of the museum that housed the Far East collections. The specific characteristics of the Far East collections in France have to do with the different interests that the civilization of this region offered over an extensive time period, providing collectioners with different repertoires at every stage. It is therefore necessary to retrace the history chronologically, from the point at which the collections entered Europe to the birth of the museum that was ultimately dedicated to the collecting of the materials, following step by step their trajectory of collectionism
Monnier, Dominique. "Charles Tanret et le musée de matière médicale de Paris". Paris 5, 1996. http://www.theses.fr/1996PA05P158.
Pełny tekst źródłaStarcky, Emmanuel. "Inventaire des dessins des écoles du Nord du cabinet des dessins du musée du Louvre : supplément aux inventaires de Frits Lugt et de Louis Demonts". Paris 4, 1986. http://www.theses.fr/1986PA040133.
Pełny tekst źródłaLien, Li-Li. "Musée à l'heure du capitalisme : l'import-export des expositions entre l'Occident et l'Orient". Dijon, 2003. http://www.theses.fr/2003DIJOL029.
Pełny tekst źródłaMuseums change, as well in their architectural appearance as in the spirit of their management. This change has become most obvious in the advent of such commercial practices now to be found in museums, including gift shops, restaurants, coffee shops, bookstores etc. . One of the most surprising among these new commercial activities of museums which we observed in the case of Taiwan is the import and export of expositions. From now on, apart from the cultural and symbolic value, the museum's collections endow themselves with a new value, which is unabashedly commercial. It allows certain museums rich in collections to augment their own resources by exporting exhibitions or lending collections for profit. How has this transformation occured? What has this new practice engendered or changed? How has it commercially modified the relationship among museums. Which are the are the exporting museums and which have become the importers?
Dalbavie, Juliette. "La patrimonialisation de la chanson, entre musée et mémoire collective : l'exemple de Georges Brassens à Sète". Avignon, 2008. http://www.theses.fr/2008AVIG1072.
Pełny tekst źródłaThe present thesis examines the relationship between popular songs and heritage. Although some specific aspects of songs might appear a priori incompatible with the notion of heritage, the process of integration seems to be warily under way, albeit on a small scale. In fact, it appears that neither museums nor exhibitions are the appropriate mediation channels for accessing the heritage dimension of songs. This statement contrasts with the diverse initiatives taken by song lovers and passionate collectors in the domain. Numerous lively mediations of this kind stemming from work on collective memory do exist. A thorough analysis of structures involving memory (a TV game, a record fair) brings to light the dialectical tension running through both processes : on the one hand, they promote a song culture and, as such, are part of a process of pre-integration of popular songs into heritage ; on the other hand, they compete with established heritage institutions. The case study of Georges Brassens in Sète, inasmuch as it includes two contrasting structures from a semiotic point of view (a museum and the singer’s nearby grave) has enabled us to observe in situ the relationship between memory and heritage as modalities of transmission. Yet further scrutiny of the attitudes and discourse of visitors to the museum and pilgrims visiting the singer’s grave reveals that their behaviour only partially corresponds to expected patterns. This is due to the emotional, even cult-like dimension which emerges with surprising strength, particularly in the museum
Dhaussy, Martinez Pascale. "Le Musée Grévin : 1881-1918 : une entreprise de divertissement parisien sur le boulevard Montmartre". Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010552.
Pełny tekst źródłaThe musée Grévin has been set up in 1881 by a journalist, Arthur Meyer, associated with the caricaturist Alfred Grévin. The wax museum defined as « rather like Tussaud's museum » becomes the model of an entertainment enterprise
Girardin, Miléna. "Les legs et donations d'artistes et de leurs héritiers aux collections publiques de 1818 à 1969". Paris 1, 2003. http://www.theses.fr/2003PA010601.
Pełny tekst źródłaBlanc, Julien. "Du côté du musée de l'Homme : Les débuts de la Résistance en zone occupée (été 1940 - été 1941)". Lyon 2, 2008. http://theses.univ-lyon2.fr/documents/lyon2/2008/blanc_j.
Pełny tekst źródłaStarting in the summer of 1940, in a country profoundly disheartened by the shock of its military collapse, the first manifestations of opposition to the Nazi occupation began to appear. In the capital city, near the “musée de l’Homme”, scattered and small-scale initiatives were undertaken. These gradually coalesced into a loose network composed of diverse groups. Geographically dispersed, its members markedly heterogeneous in their social and ideological backrounds, this initial Resistance movement quickly became the specific focus of ferocious Nazi repression: its most well-known leaders Boris Vilde and Anatole Lewitsky were condemned to death in February 1942 and executed. How was this initial Resistance movement organized? What was its internal structure? What precisely were its objectives? What was the backround of its leaders? Did the Nazi repression succeed in completely obliterating all its activities? What has been the legacy of this initial Resistance, as seen by historians from 1942 until the present day?
Auffret, Anne-Lise. "Le musée céramique de la manufacture de Sèvres : progrès techniques, enjeux artistiques et pratiques savantes en France (1800-1914)". Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010570.
Pełny tekst źródłaThe Musée Céramique et Vitrique was opened to the public in 1824 by Alexandre Brongniart, the administrator of the Sèvres manufactory. The museum was conceptualized in 1802, and aimed to be of a new sort. In the spirit of the Age of Enlightenment Brongniart aimed to create an encyclopaedia of ceramic education and skills for future ceramics workers and artists. We have attempted to redraw and analyze the history of the institution for over a century, and we have discovered that it does not follow a linear path. The evolution of the institution was influenced by economic, aesthetic, and political upheavals. Our current study attempts to show how a museum, created by a naturalist and dedicated to technical knowledge, evolved to what it is now, an institution focused on the art and history of ceramics, with a lesser emphasis on collectibles. Many factors shape the museum in this XIXth century, including; the legacy and donations of amateurs, the management of collector Champfleury, and historical research on the art of ceramics. Our approach will be to study the role of the museum in the context of industrial development, and a renewed interest in the “minor arts”. Through this study, we aim to show the interactions between art and the industry
Gronier, Caroline. "La faïence et le grès d'art en France pendant la seconde moitié du XIXe siècle à travers les collections du Musée des Arts Décoratifs de Paris". Paris 4, 2002. http://www.theses.fr/2001PA040195.
Pełny tekst źródłaIn order to define the evolution of French artistic earthenware and sandstone during the second half of the XIXth century, we will study initially the aesthetic tendency which shows off through their forms and their decorations then the technical progress which rises of industrial and traditionnal in the field of ceramic. We will see then that decorative or usual works of the manufacturers and craftsman-ceramists in activity between 1850 and 1900, are diffused, not only by the means of the World Fairs and the national exposures, but also via Grands Stores, merchant-editors or deposits and stores opened by the manufacturers themselves. Lastly, why and how are based the Central Union of the Art schools applied to Industry then the Central Union of Decorative Arts and the Museum of Decorative Arts of Paris? What bring these companies to the ceramics of art?
Pirson, Chloé. "Les cires anatomiques (1699-1998) entre art et médecine: étude contextuelle de la collection céroplastique du musée de la médecine d'Erasme". Doctoral thesis, Universite Libre de Bruxelles, 2006. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210884.
Pełny tekst źródłaSur base d'une étude de la collection des cires anatomiques du musée de la médecine d'Erasme, ma thèse de doctorat vise à l'étude contextuelle de la production de cires anatomiques depuis la fin du 18e siècle jusqu'au 20e siècle. Nous avons montré comment ses objets didactiques, produits par des moyens sculpturaux, ont été perçu à travers leurs usages successifs depuis l'enseignement médicale jusqu'à la prévention sociale des maladies d'époque, au sein des musées anatomiques forains.
Doctorat en philosophie et lettres, Orientation histoire de l'art et archéologie
info:eu-repo/semantics/nonPublished
Crémière, Cédric. "La science au musée : L'anatomie comparée au Jardin du Roi et au Muséum d'histoire naturelle de Paris : 1745-1898". Paris, Muséum national d'histoire naturelle, 2004. http://www.theses.fr/2004MNHN0022.
Pełny tekst źródła[The expansion of comparative anatomy during the 18th Century in France was due to the joint elaboration of a conceptual architecture (thinking the nature), a methodology (how to study and deal with the natural history), a medium (the book) and an institutional shelter. These conditions were combined when Buffon became Intendant of the Jardin du Roi in 1739 and employed Daubenton in 1745 to lead his project of the Histoire naturelle. Cuvier took up again some principles enounced by Daubenton and founded his activity on the collections, which became an essential part of his demonstrative system. In the second half of the 19th Century, comparative anatomy suffered from a fierce institutional competition with anthropology and paleontology and thus sought conceptually and geographically new spaces. Each discipline claimed its own autonomy through the revendication of separate galleries that only arose in 1898)
Jan, Morgan. "Culture couture : la reconnaissance patrimoniale du vêtement de couturier-créateur en France, de la fin du dix-neuvième siècle à nos jours". Paris 1, 2011. http://www.theses.fr/2011PA010646.
Pełny tekst źródłaLa, Vaissière Rémi de. "Étude de l'aquifère néogène du Bas-Dauphiné : apports de la géochimie et des isotopes dans le fonctionnement hydrogéologique du bassin de Valence (Drôme, Sud-est de la France)". Avignon, 2006. http://www.theses.fr/2006AVIG0034.
Pełny tekst źródłaThe studied area is located in the South-east of France in the Rhone River valley between the Alpine chain to the East and the European craton (Massif central) to the West. The Valence basin is a molassic foreland basin due to the orogenesis of the Alps during the Miocene with a surface area around 1600 km2. This foreland basin is filled with multilayered sands, sandstones, clays and marls with an average thickness of about 400 m. This basin is an important unconfined ground water resource for freshwater supply and agriculture. The use of geochemical and isotopic tools made it possible to understand the ground water flow system of this patrimonial resource. Indicators of groundwater time residence were defined. These tools showed the systematic presence of sectors marked by the upwelling of major circulation recognizable by old groundwater aged from few hundreds to several thousands years (14C less than 30 PMC, tritium free, high contents of magnesium, sodium and silicate) and infiltrated in altitude (18O and D depleted). Moreover, these sectors are located downstream the aquifer or localised under river valleys. Apart from these sectors, the groundwater is infiltrated in the vicinity and is described as Actual with the presence of tritium and sometimes of nitrate and pesticides. Only the conceptual groundwater flow diagram suggested by Hubbert (1940) and Tóth (1963) could explain this hydrochemical and isotopic groundwater behaviour. The relief and the geological structure of the basin govern the water flow run-offs. The groundwater flow velocity ranges between 5-10 m /y for the deepest flow and for the flow which circulates in the less permeable layers to 100-200 m /y for the shallowest flow and /or for the flow which circulates in the more permeable layers. The vulnerability of the Neogene aquifer was shown. An effective protection of this patrimonial resource should be developed from the groundwater flow model
Beltrame, Tiziana. "Ethnographie de la patrimonialisation : numériser, inventorier et classer la collection du musée du quai Branly". Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100188.
Pełny tekst źródłaThis thesis explores the cultural heritage preservation of the collection of the Quai Branly Museum through the analysis of the digitisation of the object cards and background data. Non-European collections of the Museum of Man have been reconfigured in the new institution: while it used to be perceived as an object of science, the artefact became an object of "art and culture", an object of heritage registered with the Museum Service France. Documentary data, once set on paper media, entered into a new classification system, the database "TMS objects". This database is conceived as social space and a space of knowledge shared by different communities of practice. The digital technology allows new modi operandi for the creation of the catalogue. This is the source of discontinuities in the history of collections. It leads to new associations between data, from which spring up opportunities for unprecedented connections between individual items and collections. The IT logic, the logic of preservation, logistics and institutional policy combine to form a new documentary organization, readable not only in the database but also in the collections storage areas. The analysis of the creation of thesaurus categories of objects by use shows how a technical process establishes new connections between people, objects and data. The division of tasks, which should be in principle common to all, faces however bugs and affects. Therefore, it remains unfinished
Flicoteaux, Muriel. "La construction des identités du Musée national de l’histoire et des cultures de l’immigration : vers un nouveau modèle muséal ?" Thesis, Avignon, 2010. http://www.theses.fr/2010AVIG1098/document.
Pełny tekst źródłaOn 10th October 2007, France's first museum of immigration finally opens its doors after many years of lobbying by various organisations and academics and the rising awareness of public authorities. The new institution named Musée national de l’histoire et des cultures de l’immigration enjoys the legal status of national museum. It fits into an organizational structure which transcends the usual concept of a museum, the Cité nationale de l’histoire de l’immigration, a multidisciplinary quango in the quadriple guardianship of the ministries of Culture, Education, research and Integration.The purpose of our thesis is to determine the media construction of identities of the National Museum of History and Cultures of Immigration. Based on the approach that considers the museum as a space of symbolic communication (Davallon, Schiele, Lamizet, Dufrene, Regourd), it exposes as epistemological prerequisites two concepts of humanities, the social identity as constructed (Claude Levi-Strauss) and the narrative identity (Ricoeur). Then, it also refers to museology (museum models) and cultural mediation (mediation devices and public space) as main concepts.Our analysis continues with a study of the superposition of mediations according to the different temporalities of the museum, the imagined museum (stories of utopia through the preparatory documents), the completed museum (architectural mediation, museography and website). This brings us to the query of conflicting mediations inside the museum between colonial and republican narratives, historical, artistic and anthropological narratives, historical and memorial stories, narrative of unity of the nation and account of diversity of the heritage of migrants.The finding of an enunciative polyphony and the a plurality of identities of the National Museum of History and Cultures of Immigration leads us in turn to consider how the republican discourse deals with memories and how a new museum model emerges. Do we see the beginnings of a museum of social innovation from the museum structure/network? How far does the reflection on cultural diversity and multiculturalism that crosses the contemporary public space, affects the museum in the age of globalization? Can we speak of the emergence of a hybrid museum prototype between republican museum and neighbourhood museum, universalism and communitarianism?
Bongni, Florence. "Contribution à l'étude des sites littoraux du Néolithique et de l'Age du Bronze au nord-ouest des Alpes : étude des collections du Muséum national d'histoire naturelle (Laboratoire de préhistoire, Musée de l'homme et Institut de paléontologie humaine)". Paris, Muséum national d'histoire naturelle, 2000. http://www.theses.fr/2000MNHN0025.
Pełny tekst źródłaTran, Luong Cong Khanh. "La notion d'intégrale dans l'enseignement des mathématiques au lycée : une étude comparative entre la France et le Vietnam". Phd thesis, Université Joseph Fourier (Grenoble), 2006. http://tel.archives-ouvertes.fr/tel-00122062.
Pełny tekst źródłaDans une deuxième partie, nous effectuons une étude des examens finaux (baccalauréats français et vietnamien, concours d'entrée universitaire vietnamien), et une analyse de l'apprêtage de la notion d'intégrale par les enseignants français et vietnamiens à travers un questionnaire pour déboucher sur une enquête épistémologique sur le savoir intégrale.
Cette partie conduit à décrire une Organisation Mathématique de référence pour le thème de l'intégrale. Elle permet aussi de questionner des éléments spécifiques du savoir à enseigner dans l'institution vietnamienne : les valences instrumentale et sémiotique des ostensifs et dx dans les méthodes d'intégration, et le contrat institutionnel sur le calcul d'aire.
Dans la dernière partie, nous nous centrons sur le savoir effectivement enseigné au Vietnam sous les contraintes et conditions mises en avant dans les parties précédentes. Pour cela, nous analysons des réponses d'élèves vietnamiens à des tâches en rupture de contrat institutionnel par rapport au calcul d'intégrale et au calcul d'aire, des copies corrigées du baccalauréat vietnamien 2005 et enfin des chroniques résultant d'observation naturaliste de séances de classes (moment des révisions pour le baccalauréat vietnamien).
Rocher, Yves-Marie. "Le musée de l’Armée et ses collections sous la Troisième République". Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL163.
Pełny tekst źródłaThe official creation of the French Army Museum in the Hotel des Invalides occured in 1905, gathering two pre-existent establishments, the Army historic museum and the artillery museum. In so doing it is two conceptions of the collections of military objects that group together under the same administration. One was a museum of techniques, eager to retranscribe the evolutions of the armament over time, the other one tried to transmit to the visitor a feeling of timeless greatness of the french nation symbolized by its Army. This double ancestry is going to be the core of questionings on the museography and the choices relative to the collection during all the life of the establishment. The place of the memory is going to be a permanent stake. The first stages of implementation stopped with the Great War, which saw at the same time the museum slowing down its activity and knowing a big influx with the exhibition of trophies and paintings realized on the battlefield. This episode, so peculiar in the life of the establishment, is going to impulse the creation of new rooms from 1915 onward. Then the Army museum had the ambition to be a key place of the memory of the first world conflict. However this will had to cope with two major difficulties. First, the war ministry didn’t provide enough fees and furthermore the expression of these remembrances after 1918 left the Invalides for other places. In 1928, while the museum obtained its financial autonomy, all the display were changed in a way close to the private collections. Separating the parts dedicated to the memory of those showing the collection, the establishment gave itself a policy which continued beyond the second world conflict