Rozprawy doktorskie na temat „Paris-Soir (Paris, France : 1923)”
Utwórz poprawne odniesienie w stylach APA, MLA, Chicago, Harvard i wielu innych
Sprawdź 50 najlepszych rozpraw doktorskich naukowych na temat „Paris-Soir (Paris, France : 1923)”.
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.
Benoist, Jacques. ""Le Sacré Cœur de Montmartre" : spiritualité, art et politique (1870-1923)". Paris 4, 1991. http://www.theses.fr/1990PA040155.
Pełny tekst źródłaThe basilica of the sacred heart has always been the target of numerous criticisms. These cannot be understood without investigating the promoters' intentions. Under the shock of the event of 1870 in Rome as well as in France, they pledged in December 1870-January 1871 to build a church dedicated to the heart of Christ thanks to a national subscription, so as to obtain from god both salvation for France and liberation for the Holy Father. The national assembly granted their initiative the public interest status. Paul Abadie became their architect. During the slow building of the monument, pilgrimages and perpetual adoration began rapidly. The decoration expressed in the stone the builders' vision of the world. The critics and the criticisms of times past and present have long held general attention but are now being criticized themselves
Borbely, Ayça Sevil. "Images de Paris chez trois écrivains contemporains turcs : Demir Özlü, Nedim Gürsel, Enis Batur". Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030003/document.
Pełny tekst źródłaThe link between Paris and Turkey was founded when both countries opened diplomatic relationships in the 17th century. Since then, the French culture, language and literature has been key to the Turkish intelligentsia, the first victim of the political instability the country is experiencing since 1960. Paris played the role of a window into the Western world, driving generations of writers to cultivate the myth of the Ville Lumière, city of love, revolutions and freedom. The debate on the place of Turkey in Europe justified a close look into the images of Paris in the contemporary Turkish literature. This study focused on three contemporary writers, who all worked under the shadow of Attilâ Ilhan the precursor, who died in 2005. Demir Özlü, the nauseated loner, for whom Paris will always remain an inaccessible dream, Nedim Gürsel, the prolix lover who turned the city into his mistress, and Enis Batur, the scientific explorer who observed each and every of its stones, have each in their own way placed Paris at the heart of their literary production. In doing so, they preserve the special status the French capital city enjoys in the Turkish collective imagination. Through their exiles and wanderings, they serve as a bridge between Turkey, whose traditions are grounded in the Middle-East, and Paris, which incarnates a Western world that is depicted either as flamboyant or decadent but will always remain obsessive. The fact that they are constantly split between two languages, cultures and places, Paris on the one hand, Istanbul and Turkey on the other hand, pulls them into a gnawing and permanent quest of their identity of human being and writer
Sicard, Tristan. "Le traitement médiatique de l'Afrique dans la presse écrite de référence francophone entre 1993 et 2003 : le cas des quotidiens Le Devoir (Québec), Le Monde (France) et Le Soir (Belgique)". Thesis, Université Laval, 2007. http://www.theses.ulaval.ca/2007/24550/24550.pdf.
Pełny tekst źródłaJorge, Muriel. "Philologie, grammaire historique, histoire de la langue ˸ constructions disciplinaires et savoirs enseignés (1867-1923)". Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA138.
Pełny tekst źródłaBetween the late 1860s and the mid-1920s, philology, historical grammar and language history are introduced into the French higher education system with the creation of positions and tenures in newly founded schools, such as the École Pratique des Hautes Études and the girls’ École normale supérieure in Sèvres, and in deeply transformed institutions, like the Paris Faculty of Letters. Making history-oriented linguistic knowledge into disciplines contributed to bring teaching and research closer together and led to the rebirth of the university system. This is illustrated by the careers of Gaston Paris, Arsène Darmesteter and Ferdinand Brunot in these institutions as evidenced by private correspondence and institutional archive material. The analysis of documents published by the establishments (posters, booklets, teaching records, anniversary publications) casts light on the problems these teachers faced when attempting to adapt to various student populations and official guidelines. Their teaching notes reveal content adaptation through diverse writing practices, which we identify and characterize by using text genetics. The in-depth study of two knowledge contents demonstrates the use that can be made of these notes as sources for the history of linguistic thought and its teaching. Firstly with the history of French orthography which is present in teaching notes, although it does not appear in course titles. Secondly with vulgar Latin as a theme that pertains to major ideological and epistemological issues which are invisible in institutional display material
Saiki, Shinichi. "Paris dans le roman de Proust". Paris 3, 1990. http://www.theses.fr/1991PA03A005.
Pełny tekst źródłaIn remembrance of things past by marcel proust, a large numvber of scenes have their setting in paris. Each location in paris is connected specifically with a character or a novelistic situation through its cultural and historic significance as well as the images evoked by its name, and constitue one of the indispensable elements of the narrative
Deluermoz, Quentin. "Les policiers en tenue dans l'espace parisien (1854-1913) : la construction d'un ordre public". Paris 1, 2006. http://www.theses.fr/2006PA010692.
Pełny tekst źródłaBoirel, 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
Leenaerts, Danielle. "Analyse historique et artistique du magazine Vu (1928-1940), hebdomadaire d'informations générales illustré par la photographie". Doctoral thesis, Universite Libre de Bruxelles, 2002. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211383.
Pełny tekst źródłaVictor, Pujebet Bruder Danielle. "Les concerts de musique classique à Paris : description et analyse de la saison 1982-1983". Paris 4, 1987. http://www.theses.fr/1987PA040421.
Pełny tekst źródłaTakai, Tetsuhiko. "De l'association à l'organisation : le système des affaires du bâtiment et des travaux publics à Paris, 1882-1929". Paris, EHESS, 1999. http://www.theses.fr/1999EHES0059.
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 źródłaLe, Gall Guillaume. "Collectionner le vieux Paris : Eugène Atget (1857-1927) et le travail de l'histoire /". Paris : G. Le Gall, 2002. http://catalogue.bnf.fr/ark:/12148/cb38922053h.
Pełny tekst źródłaMarkovics, 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
Andrys, de Stefano Maryse. "Le renouveau de la mosaïque monumentale en France de 1875 à 1903 : étude sur la production et l'activité des principaux ateliers parisiens de la fin du XIXé siècle". Besançon, 1995. http://www.theses.fr/1995BESA1015.
Pełny tekst źródłaLyu, Eunha. "Les grèves ouvrières en banlieue nord de Paris : (1921-1935)". Paris 13, 2007. http://www.theses.fr/2007PA131001.
Pełny tekst źródłaLambard, Frédéric. "Paris Saigon dans l'Azur, la ligne impériale d'Extrême-Orient (1926-1954)". Nantes, 2014. http://www.theses.fr/2014NANT3024.
Pełny tekst źródłaDasques, Françoise. "Deux Rome : Mexico-Paris 1784-1920 : le lien de l'architecture". Paris, EHESS, 2003. http://www.theses.fr/2003EHES0129.
Pełny tekst źródłaThis thesis, entitled Two Rome, Mexico-Paris, 1784-1920, the architectural link, intends to approach nineteeth century history of Mexico, under the light of architecture. It aims at describing the constitution of the country, on the base of European and particulary french theory and models. It examines the economical context of exchanges (goods and thoughts), the mental dependences, and the production by Mexico of an aclectic art of its own, although strongly based on french images, prescriptions and pedagogy. The study concludes by the mimetic attitude of the Porfirian elites, tangible in the conduction of such programs as hospitals and penitentiaries, led by notions like hygiene and regeneration
Huesca, Roland. "Paris à l'époque des ballets russes, 1909-1913 : histoire culturelle de l'esthétique". Strasbourg 2, 1997. http://www.theses.fr/1997STR20096.
Pełny tekst źródłaOn their very first visit to paris, in 1909, S. De diaghilev's russian ballets met with a huge success. With such works as giselle, le pavillon d'armide or les sylphides, the choreographer, m. Fokine not only followed the rules of the dance tradition, but he also revived it. The parisian elite, who still craved on the values of the peerage, enjoyed seeing the greatness and the beauty of a appreciated to discover the russian painters' vividly coloured backdrops, which reminded them of the impressionistic style, a style that paris was proud to have been the centre of moreover, the russian dancers, full of enthusiasm and exultation, also recreated the values of a mythical orient, which has been dreamt of ever since the xixth century. The dancers' steps and gestures embodied a vision of eroticism and barbarous ardour. Thus, the russian ballets allowed the well-to-do parisians to meet their fantasies. Things changed with v. Nijinsky. Three of his works, l'apres-midi d'un faune, first played in 1912, jeux and le sacre du printemps both premiered in 1913, were highly controversial. Tradition gave way to the avant-garde. The young choreographer, considered a "modern" artist by all, id not follow the rules of ballet, but his rite of spring renewed the sense of sacred things. Critics id not know how to account for so many signs of novelty and semantic transpositions seem to have been only way out. Did v. Nijinksy create cubist choreographies? Taking the opportunity the supporters of the french aesthetic nationalism, who felt threatened, tried to impose their own sense of what beauty and good taste should be. The russian ballets with their various performances met triumphs a well as scandals. A phenomenological analysis of these dance evenings allows the elaboration of a cultural history of aesthetics what the press wrote, what people said, the pictures that were taken or the films which try to create the performances are useful to a hermeneutic work. Three steps mark the method used here : first there is a description,,then an elaboration is followed by the next one, the belle epoque's perceptions and representations of art are little unveiled
Haddab, Karim. "Le système politico-administratif de la ville de Paris : pouvoir des maires d'arrondissement et réforme de décentralisation interne". Paris 4, 1988. http://www.theses.fr/1988PA040029.
Pełny tekst źródłaThe political administrative system of Paris, self-governing since 1977 (M. Chirac elected mayor), presents the following features : - the undisputed leadership of the RPR's president - a government by a confined and catch all power committee - a numerous and various administration, very integrated by top of pyramid (general secretary, vertical management, principal mayor's assistants) which impose a quantitative and abstract rationality, ignorant of players and different sectorial publics. - The attraction of associations and private interest groups (buffer associations extra-municipal commissions. . . ), combined with fusions and relays in the wards. The shyness of the P. L. M. Law, the right's victory (1983,1986) and the systemic- cultural resistances (bureaucratical and feudal political logics) has stopped all deep; evolution. Most certainly the mayors of wards own a real power, essentialy based on their electoral legitimity and their relational ability ; but they don't exploit it in favor of a taller local democraty : trendly, they reproduce the central logic. So, the administereds' participation at the qualitative manage- ment of local public goods and services stay weak and unequal. Actually, we can't change the political-administrative system by decree. .
Harford, Marie Diane. "La ségrégation spatiale à Paris dans la première moitié du XIXe siècle". Master's thesis, Université Laval, 1993. http://hdl.handle.net/20.500.11794/17655.
Pełny tekst źródłaSchoenborn, Benedikt. "La mésentente apprivoisée : Paris et Bonn 1963-1969: forces et limites d'une réconciliation". Paris 4, 2006. http://www.theses.fr/2006PA040041.
Pełny tekst źródłaBetween 1963 and 1969, powerful forces united General de Gaulle's France and the Federal Republic of Germany: the Elysée-Treaty (January 22, 1963) and the objectives it represented, as well as the close economic links between the two countries. On the other hand, important factors drew them apart – their divergent relations with the United States and their different visions of Europe. Hence the limits of understanding between the French and the Germans also became apparent by their inability to establish a common policy towards the USSR, thus impacting their ability to advance together towards German reunification in the long run. This thesis represents a thematic analysis of the relations between Paris and Bonn based upon German and French archives, additional British and American sources, as well as the opinions of several witnesses on the subject
Garin, Michel. "Les immigrés indépendants originaires de Grèce et de Turquie à Paris de 1920 à 1936". Paris, INALCO, 2009. http://www.theses.fr/2009INAL0006.
Pełny tekst źródłaThis research attemps to answer the question of whether the development of independent activity on the part of immigrants from Greece and Turkey depended on their geographical origin and/or their community origin. The main portion covers all the immigrants born in Greece or Turkey and shown on each of the censuses of March 1926, March 1931 and March 1936 as well as immigrants borns in Greece or Turkey, and registered on the Register of Commerce of the Seine Department from 1920 to 1936. The five groups defined by cross-referencing their geographical and community origins - Armenians from Turkey, Greeks from Greece, Greeks from Turkey, Jews from Greece and Jews from Turkey - had differing reasons to emigrate and options to return. There are many points in common as regards independent activity in the various groups, in particular the continuous increase in their rate of independence during the period as well as the driving forces and the process of development of the independent activity. However there are also significant differences. Firstly, there are differences in the rate of independence. The highest rate of independence is seen among Jews from Greece, followed by Jews from Turkey, then Greeks from Greece, Greeks from Turkey and finally Armenians from Turkey. Differences may also be seen in the geographical distribution and residential concentration of the various groups. Independent Armenians from Turkey and Greeks from Greece and Turkey are more numerous in the trades than in commerce; Jews from Greece and Turkey are more numerous in commerce
Haegel, Florence. "Un maire à Paris : genèse, fondation et mise en scène d'un nouveau rôle politique". Paris, Institut d'études politiques, 1992. http://www.theses.fr/1992IEPP0017.
Pełny tekst źródłaIn 1977 the function of the mayor of Paris have been established. The marking feature of this new function is the lack of a specific conception in the system set forth by Jacques Chirac. Such a lack is explained by the conditions of this role-taking. The origins of these particular role has made it impossible to settle an executive framework (criteria of definition and role expectations). Partnership has privileged "maintenance agents", particularly in the field of administration
Gimbal, Julie. "L’architecture de grande hauteur à Paris (1893-1973) : débats et hypothèses autour d’une spécificité française". Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL152.
Pełny tekst źródłaHigh-rise architecture raises a whole set of urban mythologies and historical constructions that, indefinitely, value its symbolic dimensions or debate its definition, its place of birth and its place in modern times. The skyscraper, the tower are objects of fascination often taken in the frame of great narratives which, by noting the most striking manifestations, omit the minor traces which are so fundamental echoes of the emission and the reception of architecture, likely to rebalance the speeches. Thanks to a large body of works and sources, this research project aims to understand the ideological and urban situation of high-rise architecture in Paris, its emergence in the French opinion in 1893 (World Fair of Chicago) to its condemnation in the early 1970s, under the action of convergent criteria: Olivier Guichard's Circular of March 21, 1973 (Tours and Barres) and the stop of the towers proclaimed a year later by the president of the Republic Valéry Giscard d'Estaing
Archer-Straw, Petrine. "Negrophilia Paris in the 1920's : a study of the artistic interest in and appropriation of, Negro cultural forms in Paris during that period". Online version, 1994. http://bibpurl.oclc.org/web/34427.
Pełny tekst źródłaLeitner, Patrick. "Entre Paris et New York : dynamiques d'échange pour transformer la métropole : 1858-1926". Paris 8, 2009. http://portaildocumentaire.citechaillot.fr/search.aspx?SC=theses&QUERY=cour+ouverte#/Detail/%28query:%28Id:%270_OFFSET_0%27,Index:1,NBResults:1,PageRange:3,SearchQuery:%28CloudTerms:!%28%29,ForceSearch:!t,Page:0,PageRange:3,QueryString:leitner,ResultSize:10,ScenarioCode:theses,ScenarioDisplayMode:display-standard,SearchLabel:%27%27,SearchTerms:leitner,SortField:!n,SortOrder:0,TemplateParams:%28Scenario:%27%27,Scope:%27%27,Size:!n,Source:%27%27,Support:%27%27%29%29%29%29.
Pełny tekst źródłaBased on the principle that cities are well aware of their own position, this thesis shows how two world cities, Paris and New York, built their physical public space by interacting one with the other. This takes place in the late 19th century and the early 20th century. The particular dynamics of this relationship is due to the fact that, first Paris, then New York, is the foremost model of urban modernity. By studying, on both sides, the reciprocal knowledge, the expressions of urban desires, rejections and ambitions as well as urban visions in regards to the other city, this thesis reconstructs a complicated and passionate history. To do this, it analyses texts and images from the professional sphere of architects and engineers as well as from the public sphere and the art world. The history between Paris and New York, thanks to the reversal of one model toward the other, gives a new insight in the more generally cultural aspects that both world cities associate with the modernity of either one. It is a history where the desires and obstacles lead to a far more complexe relationship to modernity itself. Only superficially symmetrical, this relationship is, in fact, profoundly asymmetrical
Julien, Élise. "Paris, Berlin : la mémoire de la Première Guerre mondiale, 1914-1933". Paris 1, 2007. http://www.theses.fr/2007PA010655.
Pełny tekst źródłaGalante, Mezzadri Florence. "Les transports parisiens au XIXe siècle : les voitures de place et de remise (1790-1903)". Paris 12, 2003. http://www.theses.fr/2003PA122005.
Pełny tekst źródłaIn 1790, the horse drawn-cabs, main public transit of Parisian, get the freedom to create their own firms. Confronted to cab owners and coachmen excesses, the police authorities attend to the respect of competition rules and of freedom and safety of circulation in a straight and densely populated town. They try to succeed in by fixing a maximum number of cabs for hire, by ensuring the observation of rates and fighting against the coachmen indiscipline and traffic congestion. In 1855, within the urban reform of Hausmann, the prefect of police organizes the centralization of these cars within the Compagnie impériale des voitures de Paris by entrusting an exploitation privilege in the public service. In the absence of a true legal monoploy and following the coachmen strike of 1865, the conflicts between cab companies and their drivers, performs a minor part. In 1903, the acknowledgement of the paid quality with the coachmen by the Supreme court and the taximeter adoption temporarily pacify the sector before the motor car arrival
Gleyze, 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
Foster, Emmanuelle. "Les artistes peintres et graveurs allemands en exil à Paris : 1933-1939". Paris 1, 1991. http://www.theses.fr/1991PA010527.
Pełny tekst źródłaThe subject of this thesis is the parisian exile of german artists who fled nazi Germany between 1933 and 1939. Kandinsky, Otto Freundlich, Max Ernst, Anton Raderscheidt, Hans Bellmer, Heinz Lohmar, Gert Wollheim etc. . . In the vast majority, these were artists representative of the esthetic movements that had been responsable for the international renown of german art during the weimar republic. This exile meant a major change in the life of these artists and sometimes a complete rupture in their career. Their "weltanschauung" was radically altered. During this period, some artists developed an art with consciously political overtones in order to express their opposition to fascism. This art often took a realistic form (Heinz Kiwitz, Heinz Lohmar). Abstract painters continued in the style that had led to their being banned by the nazis. This was another form from "moral" engagement and of opposition to fasciom. German art in exile thus becomes a sector of resistance. Whether is the consciously political art or not, portraits or urban landscapes, thes works of art stand for a humanist conviction which contradicts the nazi esthetic "blut und boden". Figurative art is, in this context, the fruit of resistance. But abstract art also, (forbidden in nazi Germany) with its obvious expression of a total artistic liberty
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
Krebs, Sophie. "L'Ecole de Paris, une invention de la critique d'art des années vingt". Paris, Institut d'études politiques, 2009. http://www.theses.fr/2009IEPP0045.
Pełny tekst źródła« L’Ecole de Paris », was launched in 1923, in the course of a quarrel said « Quarrel of the Independants », during the organization period of the 1923 and 1924 « Salon ». The art critics, who were in favor of the foreigners, invented this notion to distinguish the foreigners installed in France for a long time, from the true foreigners. They were relying on the fact that a strong immigration movement could be observed in Montparnasse. Thanks to its dominating position in the Press and in the publishing business, this movement revealed artistic networks, which were associating French and foreigner writers and artists, and which were grounded on mutual aid. These networks were crossed with diffuse but very present anarchistic networks. The same art critics fabricated individual or collective myths and of a welcoming city of Paris, which would be eager to let blow all talents from the entire world. Yet, behind this claimed universalism, artcriticism revealed divergent positions along the 1920s, from generous cosmopolitism, to overcautious nationalism, even to a more affirmed xenophobia in the name of the defense of French art. The question of anti-Semitism goes along with the debate on foreigners, and at the same time raises the question of a Jewish School of Paris and Jewish art. At last, in the beginning of the 1930s, a time which marked the end of the “Ecole de Paris”, the museums then grabbed the notion of “Ecole de Paris” in order to introduce modernity. The new “Musée national d’art moderne”, which bound the two collections, does not solve the question which established an “ethnic” distinction, and not an artistic one
Bassieres, Laurence. "Un inventaire architectural et urbain pour le premier Grand Paris : le casier archéologique et artistique de Paris et du département de la Seine, 1916-1928". Thesis, Strasbourg, 2016. http://www.theses.fr/2016STRAG009.
Pełny tekst źródłaNo more than the Grand Paris today in the making, the first and ephemeral Grand Paris which was envisioned during the years 1910-1920 did not seem to place protection of heritage among its priorities. However, an attempt in that direction was clearly made. The ambition to act according to ideas which at the time, were still far from being called Heritage Urbanism’s principles, brought upon the creation of an original Urbanism tool, half a century before the Malraux’s laws were voted : the “Casier archéologique et artistique of Paris and the Seine’s department.”This architectural and urban inventory, established between 1916 and 1928, was studied with a double focus. The first was to place the Casier archéologique – an object that now seems isolated – back into the Grand Paris’s perspective in which it had been designed for, recalling its articulation with policy-making underway at the time on urbanism and heritage, as well as the multidisciplinarity of its constitution. The second was to retrace the evolution of the Casier archéologique’s elaboration, from its creation as an innovative tool of Heritage Urbanism, to its transformation as an inventory with a more classic format, but on Grand Paris’s scale
Lacombe, René. "Les représentations wagnériennes à l'Opéra de Paris : 1911-1933 : leur écho dans la presse". Dijon, 1986. http://www.theses.fr/1986DIJOL004.
Pełny tekst źródłaPoudru, 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
Meine, Sabine. "Ein Zwölftöner in Paris : Studien zu Biographie und Wirkung von René Leibowitz (1913-1972) /". Augsburg : Wissner-Verlag, 2000. http://catalogue.bnf.fr/ark:/12148/cb38833513x.
Pełny tekst źródłaLefort, Anne-Cécile. "L' usine en périphérie urbaine 1860-1920 : Histoire des établissements classés en proche banlieue parisienne". Paris, CNAM, 2002. http://www.theses.fr/2002CNAM0416.
Pełny tekst źródłaIn the second half of the 19th century, the inner parisian suburb has been touched by a brutal development of industry. Under the weight of a strong demographic pressure, the inner north-east outskirt got violently urbanized, without physical planing or territorial organization. A large part of suburbanite industries produced classified goods coming under regulation established by the 15th october 1810 decree. This regulation has been enforcing for more than hundred fifty years. This regulation has been implemented in a specific way in the department of Seine. State and departmental authorities used it in order to discharge insalubrius activities and undesirable productions out of the capital. Prestigious parisian ambitions came true to the detriment of inner suburb. The north-east quarter received all kinds of productions needed by Paris and saw it landscape changing gradually. The inner suburb has been reacting to the situation little by little and denouncing it since 1880
Le, Gall Guillaume. "Collectionner le vieux Paris : Eugène Atget (1857-1927) et le travail de l'histoire". Paris 4, 2002. http://www.theses.fr/2002PA040217.
Pełny tekst źródłaHarts, Caroline. "Les femmes et l'accouchement à la maternité de Paris, 1815-1840". Master's thesis, Université Laval, 1993. http://hdl.handle.net/20.500.11794/17834.
Pełny tekst źródłaBertrand, Cyrille-Paul. "Le groupe de recherche d'art visuel : Horacio Garcia Rossi, Julio Le Parc, François Morellet, Francisco Sobrino, Joël Stein, Jean-Pierre Yvaral (Paris, 1960-1968)". Clermont-Ferrand 2, 2007. http://www.theses.fr/2007CLF20001.
Pełny tekst źródłaVéron, Marc. "L’économie du théâtre de Louis Jouvet 1925-1951". Paris 10, 2013. http://www.theses.fr/2013PA100180.
Pełny tekst źródłaCompany directors, independent professional men, men of letters and artists joined together to form the ‘Théâtre Louis Jouvet’ Company on the 7th October 1925. After disappointing early seasons when it had excluded all forms except the long series, the company established itself as one of the most brilliant successes of French theatre by the primacy that it accorded to style, texts and exigent authors such as Romains, Giraudoux Claudel and Molière. Its motto was ‘Au théâtre, un seul problème, le succès’ (in theatre there is only one problem, success), and with total professionalism it structured every aspect of its activity; the repertoire, the troupe, the scenery, the costumes, the music, publicity and product sales. With the crisis of 1929 and rampant inflation, however, costs exploded. For certain presentations, expensive in cast and staging, public money had to be incorporated. The age of the private theatre, at the mercy of market laws, was finished The merit of having convinced government agencies of this was due to Louis Jouvet and his associates. From 1936 onwards, the company became a privileged discussant of public authorities and prepared future professional reform articulated around directorial freedom. Theatrical activity could operate only with full liberty. Jouvet made this his existential rule. With the enslavement of France in June 1940, the principle could no longer be satisfied and, in June 1941, Jouvet went into exile in South America. Then opened a period of some ten years when, with the approbation of the most widespread international publics, Jouvet became seen as an ambassador of French literature. When he died, 16 August 1951, Jouvet had led his company to a pinnacle, but he had not prepared a successor
Houk, Melody. "L'institution de la proximité : les arrondissements dans le gouvernement municipal de Paris, Marseille et Lyon depuis 1983". Paris, Institut d'études politiques, 2005. http://www.theses.fr/2005IEPP0044.
Pełny tekst źródłaMaingon, Claire. "Les Salons du rappel à l'ordre, Paris 1914-1925 : des artistes français aux artistes indépendants". Paris 10, 2006. http://www.theses.fr/2006PA100135.
Pełny tekst źródłaThis study of Art history focuses on the “Salons des Beaux-Arts” from 1914 to 1925. It gathers a corpus of several hundred works by painters and sculptors. The purpose is to demonstrate the resilience of the Culture of Great World War and the importance of the artistic national tradition. It uses unreleased archives, exhibitions books and documents found by the inheritors of the artists. The study shows the State deficiencies and the influence of art dealers and industry people in the art market. The iconographic work shows that the cultural demobilisation was a slow and painful process coming from the 1870’s warrior ideology. It points out the birth of a tradition of independent art, what we call the Third way, which opens the prism of the call to order and announces the menacing times of the 1930’s
Parkmann, Fedora. "Paris-Prague. Transferts en photographie, 1918-1939". Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040134.
Pełny tekst źródłaThis dissertation sets forth to explicate the transfers that occurred in photography between France and the Czech Lands during the interwar period. Rooted in a material approach towards the various circulations of individuals, images and concepts, this study considers the Czech photographic scene in light of its specific relation to France and analyzes the resulting hybridizations. The research focuses on photographic vectors such as photomechanical reproductions, exhibition catalogues and the activities of mediators and photographers working between the two countries. It illuminates a network of relations between French, German and Russian impulses and describes also the export of a local photographic production. The Czech surrealist current is a prominent hybridization that resulted from the strong reception of the French photographic scene. It was exported again as an original Czech production, and as such exemplifies the process of mutual circulation and transformation that describes the concept of transfer. An expansive study of Czech journeys to France, their photographic experience of the country and their subsequent contribution to the “Paris school of photography” complete this overview of the interactions and transfers between both countries.By situating Czech photography within the discourse of cultural transfers, this dissertation reveals actors, images, concepts and developments that until now have been critically absent from national photography histories. It also demonstrates how the receptivity of Czech photographers to France in return favored the emergence of photographic modernism in their country
Wells, Amy Dawn. "Gender and geography : a geocritical approach to left bank women's writing : 1903-1941". Limoges, 2008. http://www.theses.fr/2008LIMO2011.
Pełny tekst źródłaQuinby, Diana. "Le collectif Femmes/Art à Paris dans les années 1970 : une contribution à l'étude du mouvement des femmes dans l'art". Paris 1, 2003. http://www.theses.fr/2003PA010600.
Pełny tekst źródłaNOVOA, PADRON MARIA TERESA. "Art public, étude de cas : Caracas, Montréal et Paris de 1980 à 1993, suivie d'une proposition personnelle". Paris 8, 1995. http://www.theses.fr/1995PA081108.
Pełny tekst źródłaThe following thesis is dealing with public art as a bidimensional or tridimensional piece of art situated in public locations determining or being determined by urban morphology. It's public status is creating the communauty patrimony and at least state patrimony. One of the purpose of this study is to discover the process of some contemporary public art experiences located as well in my own country or abroad. For the case study we choose the towns of caracas, montreal et paris with the following works. Caracas: - intervention in the petare metro - sculpture garden in the parque del est - sculpture composition plaza venezuela. Montreal: - place berri - sculpture park rene levesque - sculpture garden centre culturel canadien paris: - pont-neuf wrapped - patio d'honneur palais royal - major axis cergy- pontoise at least we'll espace our own intervention proposals on public locations. They are taking much care of the actual life needs. Our personnal proposals are dealing with the necessity to work public spaces as the support of art works
Bergada, Armengol Montserrat. "Les pianistes catalans à Paris entre 1875 et 1925 : contribution à l'étude des relations musicales entre la France et l'Espagne". Tours, 1997. http://www.theses.fr/1997TOUR2006.
Pełny tekst źródłaThe turn of the 19th century seems to have been one of the more advantageous moments for artistic contacts between France and Spain. Between 1875 and 1925, a large number of Catalonian artists, especially painters and pianists, participated actively in the french cultural life, confirming the importance and intensity of this migration. Documents assembled here concern France and Spain. Our aim is to describe how these pianists managed to gain access to parisian society and how french musical life organized the welcome of these foreing musicians. In the 19th century, catalonian pianists arrived shyly to Paris. They had hopes of studying with the notable pianists of the conservatoire. Then, they evolved professionally, giving piano concerts and becoming professors, Santiago Riera among them. Also they matured themselves socially and economically into the spanish colony. As compositors, they answer french expectations of a picturesque spanish art. The turn of the century represented a change. The catalonian pianists did not look for official studies any more. They seek for direct and personal contact with the rich cultural life in Paris. In stead of the conservatoire, the Schola cantorum, where Isaac Albeniz and Joaquin Nin were teaching, attract the newcomers. Some pianists had an enormous success as interpreters. For example: Ricardo Vines created an important number of Debussy, Ravel, Satie, Séverac, Falla and Turina's masterworks for piano; Joaquin Nin played a historical repertoire and contributed to recover some pieces. The compositors Isaac Albeniz, Enrique Granados and Federico Mompou dreamed of a new music free of "espagnolades" and more authentic. Thanks to the satisfactory reception given in Paris, they were able to develop their artistic personality. France surely played an important role in the international career of these catalonian pianists
Domin, Christopher. "Walter Benjamin : and the elusive city". Thesis, Georgia Institute of Technology, 1993. http://hdl.handle.net/1853/24117.
Pełny tekst źródłaRichard-Bazire, Anne. "Jean-Louis Pascal (1837-1920), architecte : la tradition de l'Ecole des beaux-arts à l'épreuve du romantisme". Paris, EPHE, 2009. http://www.theses.fr/2009EPHE4020.
Pełny tekst źródłaJean-Louis Pascal was born into a modest family in Paris during the July Monarchy in 1837. He was to become one of the most important architects of the 2nd half of the 19th century. His artistic education took place under the Second Empire and was crowned in 1866 with the prestigious grand prix de Rome. His career began during the Third Republic and ended with the 1st World War. He died in 1920. Pascal studied at the École des beaux-arts under Jacques Étienne Gilbert and Charles Auguste Questel. His works reflect both the rationalist austerity of the former and the eclectic romanticism of the latter. It was however a third architect, Charles Garnier, who shaped his artistic temperament. “After Mr. Questel, Mr. Garnier made me what I am”, Jean-Louis Pascal liked to say. Considered an “eclectic” architect – a term he rejected – and accused of lacking originality, Pascal’s numerous, dense and extensive oeuvre includes the Paris National Library, of which he was in charge for thirty-seven years. There he created the second great reading room, the oval room. Jean-Louis Pascal was an official figure in the architectural sphere of the Third Republic. He was on every architecture jury and his work was awarded the highest distinctions. He directed one of the three major workshops of the period and taught many foreign students, particularly Americans. It can be said that he was partly responsible for the enthusiasm for the “Beaux-Arts” style that arose in the United States, starting with the 1893 World’s Fair in Chicago