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Fallateuf, Cécile Marie. "Le mariage des rois de France (1600-1770)". Clermont-Ferrand 2, 2008. http://www.theses.fr/2008CLF20007.
Pełny tekst źródłaMotivared by national or international political ambition, the marriage of the kings of France follows a ritual more and more codified in the course of the XVIIth century. To understand the ceremony and his political impact, it is necessary to analyse different stages which compose it. Royal marriage dresses a double definition of civil contract and sacrament. The contract formalizes diplomatic or territorial agreements between both kingdoms and regulates the new juridical existence of the bride as queen of France. As for the religious ceremony, it is organized at three time : the union by proxy in the kingdom of the princess, the trip of the bride until France, and finally the renewal of sacrament in the presence of both couple. This nonstandard time is opportunity to be delighted and to feast. Celebrations are very important in the conjugal ceremony because they participate in the communion of the people and monarchic power, while reinforcing social and hierarchic links. The necessity to sit the face of the king as divine and sovereign leader, calls elaboration to edit State ceremonies coming to reinforce and to define power. From Henri IV, power sees a means in marriage to transport political announcements and so, by means of a directed propaganda, to construct or repeat the ideal picture of the monarch and his wife in the monarchal system. The stake of this thesis is to known if the marriage of the king of France can be considered to be a State ceremony, in the same capacity as those studied by Kantorowicz and his followers
Limbada, Aïcha. "La nuit de noces : une histoire sociale et culturelle de l'intimité conjugale (France, années 1800 - années 1920)". Electronic Thesis or Diss., Paris 1, 2021. http://www.theses.fr/2021PA01H014.
Pełny tekst źródłaAccording to France’s social and moral norms of the nineteenth and early twentieth century, newlywed couples were expected to have sexual intercourse, thus consummating their union, on the first night following the wedding ceremony. The permanent aspect of this requirement persisted, although wedding norms and practices were being redefined, through the establishment of the civil marriage during the French Revolution, with the increasing ideal of the bourgeois marriage, with social and religious debates over the right to get a divorce before reintroducing it in 1884 and with the slow sexual revolution gaining momentum from the Belle Époque onwards. The aim of this dissertation is to demonstrate how the wedding night gradually became a pivotal event in the married couple’s life from the 1800s to the 1920s. It will delineate the norms, the representations and the practices of this social fact which affected almost the entire French population at that time. I will study varied sources in order to comprehend the multifaceted aspect of such a particular and intimate moment in the conjugal life: from cultural and scientific productions (such as fictional works, images, essays, medical works and folklore studies) to canonical procedures comprising narratives of the wedding night by separating spouses. Three lines of research will be examined in this study: (1) the veil of secrecy about wedding night practices which relied on discourses that were addressed differently to men and women; (2) the traditions associated with the nuptial rituals. Over the course of the century, such rituals have been reshaped by the changing values of the bourgeois marriage. Finally, it will be argued that consummating the union was both (3) a moral and physical ordeal, particularly for the brides
Roty, Martine. "Le rite du mariage en Russie aux XIXème et XXème siècles : terminologie et symbolique". Paris 4, 1999. http://www.theses.fr/1999PA040043.
Pełny tekst źródłaBalmont, Michel. "Sémiotique du mot de passe : un exemple, les rituels maçonniques français entre 1725 et 1830". Rennes 2, 1992. http://www.theses.fr/1992REN20009.
Pełny tekst źródłaTo use a password is not only an exchange of words. In fact it is a complex ritual, mixing words and gestures. It must be considered as a text which can be understood through a semiotic analysis. This ritual has a triple function. Of course it is meant to check the qualification of the one who wants to enter, but also to integrate him, as he is standing in the doorway, into the community. At last, the ritual states the rules of communication in the group
Dalisson, Rémi. "De la Saint Louis au cent-cinquantenaire de la révolution : fêtes et cérémonies publiques en seine-et-marne (1815-1939)". Paris 1, 1997. http://www.theses.fr/1997PA010702.
Pełny tekst źródłaBetween 1815 and 1939, a festive sociability emerged, which was the mover of local democracy and an opportunity of dialogue between the people and the political institutions. The restoration and the july monarchy gave an impulse to this new festive code. The bourbon regime revealed that it was impossible to regress, whereas the orleans regime introduced secularism into the innovative public feasts. But those two regimes failed to follow their ideas through to their logical conclusion because they were confronted with monarchistic resistances and social protests. The napoleonic period (from 1848 to 1870) saw the expansion of a feast renewed by local and associative practices. The second republic reintroduced a popular ferment in the notion of feast, whereas the second empire paradoxically tolerated a festive liberty which announced new models. During those four regimes, festive sociability, revealed by various incidents, became deeper and more complex. The third republic achieved this evolution by succeeding in changing the fundamental texts to laws down a coherent civic plan. It suggested a new range of more local and associative celebrations which spread the notion of feast among country people - a proof of republican feelings. Then the exhaustive programmes forecast the mercenary aspect of that event and the present practices. Eventually the people took over that festive moment to airs its demands wich contained the seeds of a weakening of a festive public-spiritedness. That evolution was the fruit of a slow maturation (125 years), of old inheritances (coming from the clergy and the patron saints), and of numerous permanent trends between the five political regimes, turning the public feast into an excellent place of means of sociability
Fureix, Emmanuel. "Mort et politique à Paris sous les monarchies censitaires : mises en scène, cultes, affrontements, 1814-1835". Paris 1, 2003. http://www.theses.fr/2003PA010683.
Pełny tekst źródłaTriolaire, Cyril. "Fêtes officielles, théâtres et spectacles de curiosités dans le 11ème arrondissement théâtral impérial pendant le Consulat et l'Empire". Clermont-Ferrand 2, 2008. http://www.theses.fr/2008CLF20009.
Pełny tekst źródłaThis study aims analyzing the official festivals, the theatres and the "spectacle de curiosités" in the eleventh theatrical and imperial district uring the Consulate and the First Empire. He was a tragedy lover who took on the legacy of the Revolution and yet who openly revived the monarchic ceremonials, the First Consul resorted immoderately to propaganda. Official festivities and shows were abundantly used so as to stage power, to control and watch people's minds. Inthe heart of the Empire, this study focuses on the way the imperial worship was developed thanks to the festivals, the theatres and the companies between the year VIII and 1815. About strengthening the devotion for Napoleon and those of the decrees voted in June 1806 and April 1807 about the theatrical life in the departments. This work studies the political relations between Paris and the provinces, highlighting people's obvious reluctance to respect the calendar of the festivals or the theatrical censorship. It shows how the official culture was spread connected to the economical and financial constraints and the local traditions and opinions. Is presents e new sociology of the main actors in the festivities. It studies the planned places, the repertoires and the speeches. And it shows how the official messages were transmitted and how they were received by the people : their approval or their objection as well as the dramatic criticisms. This study thus tries to present a new cultural history of the politics and of its cultural practices at the time of the Consulate and of the First Empire
Franconie, Grégoire. "Le lys et la cocarde : la construction d'une dynastie nationale sous la monarchie de juillet (1830-1848)". Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010639.
Pełny tekst źródłaAfter the Revolution of 1830, while the legitimacy of Louis-Philippe, King of the French, has been disputed by the Legitimists and by the Republicans, the Orléans family has to combine hereditary monarchy and national sovereignty, and build for this dynastic pattern new ways of popular approval.The political use of royal baptisms, weddings and funerals reveals the discursive and representational strategies, the media support and the reception of the dynastic performances. The representations of the House of Orléans as the heir of saint Louis and of 1789, far from being an anachronistic curiosity in the century of progress, are the results of renewed and redefined past practices, which are interactions between dynastic purposes and prescriptive expectations of the Nation. As a political, diplomatic, religious and artistic historic abject, the cultural building of the Orleanist monarchy, which have been experienced du ring the short period of the July Monarchy, appears as a moment of political culture in the romantic age
Veillon, Charlène. "Mythes personnels et mythes pluriels dans l'oeuvre de Kimiko Yoshida : une esthétique de l'entre-deux, 1995-2012". Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010510.
Pełny tekst źródłaThe work of Kimiko Yoshida (born on June 23rd, 1963, in Japan and living in France since 1995), mainly based on photography, is founded on the creation of « myths ». This study is about searching, defining and analysing the « functions » of Kimiko Yoshida's self-portraits. The « myths of the Photographer », at the origins of her work's functions - aiming. amongst others, to « inform, represent, surprise, signify, create desire» according to Roland Barthes' Camera Lucida - are rooted in the society, the culture and the time the artist belongs to, and as a consequence also in the singularity of his/her personality, experience, and intimate story. Thus, the general title of this study brings forwards a research of « personal and plural myths in Kimiko Yoshida's work of art», whose topic of the « in-between » is the main aesthetic position, the artist and her work situated between Japan and the West between representation and abstraction, between reality and fiction, between quotation and transgression. The fictional speech through and in the image undergoes several transformations which make up the four founding lines of this thesis, that is to say the distinctive in-between of the « conceptual character » defined by Gilles Deleuze and Félix Guattari in Whut is Philosophy ) applied to Kirniko Yoshida's name : the study of a geographical and cultural in-between defining a singular artistic « syncretism » : the illustrations of the several perceptible space-time dimensions in Kimiko Yoshida's work, notably through the games/aims of the images' colours : and the questioning about the subject in the image, between trace and absence