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Artykuły w czasopismach na temat "Politique culturelle – États-Unis – 20e siècle"
Gonçalves, Stéphanie. "Une tournée du ballet de l’Opéra de Paris en Amérique du Nord en 1948 vue par la danseuse Claude Bessy : diplomatie dansante en guerre froide". Parlement[s], Revue d'histoire politique N° 29, nr 1 (5.04.2019): 39–48. http://dx.doi.org/10.3917/parl2.029.0039.
Pełny tekst źródłaChang, Leiling. "L’odyssée musicale afrocubaine". Circuit 17, nr 2 (10.12.2007): 93–106. http://dx.doi.org/10.7202/016843ar.
Pełny tekst źródłaBromberger, Christian. "Iran". Anthropen, 2019. http://dx.doi.org/10.17184/eac.anthropen.108.
Pełny tekst źródłaLapierre, Nicole. "Étranger". Anthropen, 2020. http://dx.doi.org/10.17184/eac.anthropen.127.
Pełny tekst źródłaGagné, Natacha. "Anthropologie et histoire". Anthropen, 2017. http://dx.doi.org/10.17184/eac.anthropen.060.
Pełny tekst źródłaAuger, Reginald, i Allison Bain. "Anthropologie et archéologie". Anthropen, 2016. http://dx.doi.org/10.17184/eac.anthropen.030.
Pełny tekst źródłaRozprawy doktorskie na temat "Politique culturelle – États-Unis – 20e siècle"
Dubosclard, Alain. "L'action culturelle de la France aux Etat-Unis, de la première guerre mondiale à la fin des années 1960". Paris 1, 2002. http://www.theses.fr/2002PA010677.
Pełny tekst źródłaMartel, Frédéric. "De la culture en Amérique : politique publique, philanthropie privée et intérêt général dans le système culturel américain". Paris, EHESS, 2006. http://www.theses.fr/2006EHES0083.
Pełny tekst źródłaIn order to analyze the complexity of the « American cultural system », this PhD dissertation begins in Part I (“Government of the arts”) with the role of the government following the creation of the federal arts agencies, examines the decline of these agencies, and deciphers the “cultural politics” (“politiques de la culture”) of subsequent American administrations to the present day. At the same time, the role of state and local governments is analyzed within the context of the decentralized mechanisms of arts funding. By this point, the limited role of the public sector becomes more comprehensible, for reasons that include the democratic ideal itself. In Part II (“Society and the arts”), this dissertation looks at philanthropy, foundations and the important role of universities play in the arts. Through hundreds of archival documents (among 434 as appendices) and more than seven hundred interviews in 35 states and 110 American cities, the American cultural model” appears in all its singularity and complexity, largely “nonprofit”, neither dependent on the state, nor truly influenced by the market
Le, Mat Jean-Pierre. "Rupture culturelle et continuité identitaire : Porto Rico face au changement de souveraineté de 1898". Rennes 2, 1999. http://www.theses.fr/1999REN20006.
Pełny tekst źródłaIn 1898, putting an end to four centuries of Spanish rule, the United States take possession of the island of Puerto Rico and start a process of profound transformation. The aim of the present study is to explore the aspects of a cultural contact. Part 1, visions and revisions of a foundation period, 1868-1898, is a general assessment of the situation of the island at the end of the 19h century. The feelings of national identity voiced by Puerto Rican patriots in the 20th century is largely based on the idea that Puerto Rico had acquired a distinct and valuable identity before 1898. It is useful to assess the validity of such claims. The stress is laid on the diversity of images of the island at the end of the 19th century. It appears that Puerto Ricans felt a strong attraction towards the United States. Part 2, cultural problems in the new colonial environment, 1898-1930. Focuses on the reactions of Puerto Ricans to their new situation, on their attitudes to modernity and tradition. The results of three decades of intense + americanization ; seem rather limited. Are those limitations due to inertia ? To cultural resistance ? Could the approach by the united states have been wrong ? A strong national movements gathers strength during the period 1898-1930. It is led by polititians and writers who express the need to preserve and develop a specific puerto rican identity rooted in the past. Is this merely a reaction of the local elites who see their power threatened or does it mean that the people of Puerto Rico have deeply felt the need to preserve their cultural integrity ?
Leblond, Christian. "L'accord de libre-échange Nord Américain et l'identité culturelle américaine : discours économique et politique". Nice, 1999. http://www.theses.fr/1999NICE2028.
Pełny tekst źródłaHeimendinger, Nicolas. "L’Etat contre la norme : le tournant des institutions publiques vers l’art d’avant-garde, 1959-1977 (Allemagne de l’Ouest, Etats-Unis, France)". Thesis, Paris 8, 2022. http://www.theses.fr/2022PA080002.
Pełny tekst źródłaThe 1960s and 1970s are commonly regarded as the period of transition from modern art to contemporary art. My research aims to characterize this change, not only in terms of stylistic evolutions, but as a profound reconfiguration of the institutional structures of the art field. One of its main factors consists in the expansion of public intervention in the contemporary art field, following the general development of cultural policies in all the Western liberal democracies at that time. A crucial feature of this rapprochement between contemporary art and public institutions is the choice shared by many organizations to promote avant-garde art. Support to the most recent artistic innovations and recognition of their most unconventional aspects are the two faces of this evolution, which has also benefited to some radical historical avant-gardes that were previously neglected. This reorientation represents a major break in the history of the avant-gardes, which originated in a radical opposition to any official authorities, and can explain the exhaustion of their dynamics at the end of the 1970s. It also marks a turning point in the long history of the relationship between state and culture, and can be seen as a symptom of a broader redefinition of high culture.The investigation into the causes of this change has highlighted the determining role of the public intermediaries to whom artistic decisions are delegated, in order to prevent any state control on public tastes. Because these intermediaries draw their legitimacy primarily from the art field, their choices led to import the values of the avant-garde into public institutions. From the end of the 1960s, this mechanism has been intensified by the effects of the increasing demands to democratize the art world: for lack of being able to fully answer these claims for cultural democracy (or in order to circumvent them), these intermediaries have emphasized their support to unconventional art as a mean to demonstrate, at least, their solidarity with the contemporary protests against sociocultural hierarchies
ApRoberts, Lucy. "Salariat et retraite aux États-Unis". Paris 1, 1999. http://www.theses.fr/1999PA010047.
Pełny tekst źródłaBéland, Daniel. "Une sécurité libérale ? : fédéralisme et politique des retraites aux Etats-Unis". Paris, EHESS, 1999. http://www.theses.fr/1999EHES0073.
Pełny tekst źródłaPiorkowski, Sandrine. "L'eugénisme et les politiques de santé publique aux Etats-Unis, 1870-1932". Aix-Marseille 1, 2010. http://www.theses.fr/2010AIX10028.
Pełny tekst źródłaDescout, Emilie Céline. "Les groupes cubains à Miami, 1981-2001 : stratégies pour influencer l'opinion publique et la politique extérieure américaine envers Cuba". Orléans, 2005. http://www.theses.fr/2005ORLE1067.
Pełny tekst źródłaSince the 1960s, Miami has become the home of the opposition groups to the Castro regime. The study of these groups from 1981 until 2001 shows that the two dominant opposition networks, that is to say the isolationists and the moderates, tried to have a political and media influence in four areas : the Cuban enclave of Miami, Cuba, the United States and the the transnational space. If the Cuban groups in Miami formed real networks and powerful lobbies, why couldn't they manage to destabilize the Castro regime ? The main hypothesis is that they couldn't form a strong opposition movement against Fidel Castro because they were divided by inner tensions that undermined the efficiency of their oppositional strategies
Georgel, Pierre-Desmond. "Politique étrangère des États-Unis et politique pétrolifère de l'Aramco en Arabie Saoudite de 1943 à 1973". Paris 3, 1995. http://www.theses.fr/1995PA030115.
Pełny tekst źródłaKsiążki na temat "Politique culturelle – États-Unis – 20e siècle"
Mauduy, Jacques. États-Unis, la superpuissance. Paris: Ellipses, 2004.
Znajdź pełny tekst źródłaAmerica transformed: Sixty years of revolutionary change, 1941-2001. Cambridge: Cambridge University Press, 2008.
Znajdź pełny tekst źródłaThe clash of fundamentalisms: Crusades, jihads and modernity. London: Verso, 2002.
Znajdź pełny tekst źródłaPray TV: Televangelism in America. London: Routledge, 1990.
Znajdź pełny tekst źródłaConstraints on U.S. strategy in Third World conflicts. New York: Crane Russak, 1987.
Znajdź pełny tekst źródłaCheryl, Hendricks, Lushaba Lwazi i Codesria, red. From national liberation to democratic renaissance in southern Africa. Dakar: Codesria, 2005.
Znajdź pełny tekst źródłaCheryl, Hendricks, Lushaba Lwazi i Codesria, red. From national liberation to democratic renaissance in southern Africa. Dakar: Codesria, 2005.
Znajdź pełny tekst źródłaCheryl, Hendricks, Lushaba Lwazi i Codesria, red. From national liberation to democratic renaissance in southern Africa. Dakar: Codesria, 2005.
Znajdź pełny tekst źródłaWelfare, democracy, and the New Deal. Cambridge [England]: Cambridge University Press, 1988.
Znajdź pełny tekst źródłaFrymer, Paul. Uneasy alliances: Race and party competition in America. Princeton, N.J: Princeton University Press, 1999.
Znajdź pełny tekst źródłaRaporty organizacyjne na temat "Politique culturelle – États-Unis – 20e siècle"
Rousseau, Henri-Paul. Gutenberg, L’université et le défi numérique. CIRANO, grudzień 2022. http://dx.doi.org/10.54932/wodt6646.
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