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Rozprawy doktorskie na temat "Rites et cérémonies du mariage – France – 20e siècle"
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 źródłaFallateuf, 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
Girard, Denise. "Différenciation sociale et rituels du mariage : les Montréalais francophones, 1925-1940". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq26066.pdf.
Pełny tekst źródłaHou, Renyou. "L’institution du mariage et ses transformations en Chine rurale contemporaine : une enquête ethnographique sur les activités matrimoniales dans un village du Henan". Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCF016.
Pełny tekst źródłaBased on an ethnographic study of matrimonial activities at Zhang Village (Henan province), this dissertation aims to identify continuities and changes in matrimonial rituals and procedures and explain whether observed changes speak of a structural transformation of the institution of marriage in contemporary rural China. By studying the matrimonial activities step by step, it demonstrates that perpetuation of the patrilineal lineage remains a transcendent value encompassing all types of family relationships. Although there have been many changes in private life since the Chinese Communist Party’s rise to power in 1949, these changes primarily concern the ways in which family members maintain bonds with each other, whereas, the institution of marriage itself, and its principal vocation, that of perpetuating the patrilineal lineage, are hardly called into question. Thus, against the thesis of the individualization of Chinese society suggested by the Sino-American anthropologist YAN Yunxiang, the analyses provided in this dissertation put forward the idea that observed changes take place within a perennial structure vis-à-vis what they are secondary. In other words, it is a "change in society" instead of a "change of society"
Lavra, Paola. "Enfanter à la Martinique : des matrones d'autrefois aux naissances hospitalières d'aujourd'hui". Antilles-Guyane, 2009. http://www.theses.fr/2009AGUY0294.
Pełny tekst źródłaThe study of birth in Martinique has to consider the plurality of cultural contribution from which follow the concepts of " in betwen " French West Indian medical pluralism". Taking the slave society as its starting point, this anthropological analysis of birth takes account the knowledge of the former matrons which set down the bases of an original creation belonging to creole societies. Act domain of health. The Woman plays also a generating role. The whole society has been built from this matrix Which activates the equivalence between the soil and the womb. The permanence of the habitation society guarantees the sharing of knowled and stemming from this cosmogony. Matrons and female healers hand on their therapeutlc practice in a "traditherapeutic" habitus. Medicalization represents to these communities a further choc, by rooting out matrons and female healers and using hyglenist di in order to Impose its scientific superiority, Familial habitus, beliefs and practices linked to Creoles cosmogony however survive in of representation and come Into conflict with the biomedical mode. This hiatus feeds the women's power of mobility, their 'back ; from one body identity to the other,which are as much a source of suffering as a form of body intelligence, or persistency of eler the past. The hospital space is not impervious to these forms of resurgence, when health care workers are able to elaborate new, and new strategies of mediation between the bioIogical and the social field
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
Le, Roux Daphné. "La marche nuptiale : subjectivation et technique de soi dans le rituel de mariage catholique". Thesis, Paris 10, 2018. http://www.theses.fr/2018PA100130/document.
Pełny tekst źródłaThis thesis has a twofold objective. On the one hand, to examine the contemporary transformations of the Catholic wedding ritual in France based on an ethnographic observation of all the activities that comprise the rite — from preparation to celebration. On the other hand, to evaluate the relevance of Foucault's ‘‘technologies of the self’’ to reflect these activities. This dual dimension, ethnographic and theoretical, constitutes the basis of a ‘‘field philosophy’’ whose methodological issues are defined. The first part of this work is of an epistemological nature: it presents and discusses different ways of understanding contemporary Catholic rituality. The second part focuses on marriage preparation: we then explore the exercises set up by priests and lay animators of the association Centres de préparation au mariage (CPM). In particular, the reflective dimension of these devices (dispositifs) is highlighted, leading to the adoption of new narrative patterns and new communication techniques to engage in their couple's life. The third part focuses on the celebration of union: it is then shown that, in the context of contemporary Catholicism, the effectiveness of this rite can only be fully understood if it is considered in the light of the preparation that conditions it. Two general issues emerge from this work. On the one hand, the contributions of subjectification theory to ritual analysis are presented. On the other hand, ethnographic observations allow us to critically deepen Foucault's theory
Auzas, Vincent, i Vincent Auzas. "La commémoration du 11 novembre à Paris 1919-2012". Doctoral thesis, Université Laval, 2016. http://hdl.handle.net/20.500.11794/28073.
Pełny tekst źródłaTableau d’honneur de la Faculté des études supérieures et postdoctorales, 2016-2017.
En 1919, la France sort d’une guerre au cours de laquelle elle a subi des pertes humaines jusque-là inimaginables. L’État est alors amené à inventer de nouveaux outils pour faire face au deuil et au traumatisme. C’est l’un d’entre eux, le 11 Novembre, que cette thèse a interrogé dans sa dimension parisienne de 1919 à 2012. Les archives administratives, les comptes rendus des débats parlementaire et la presse quotidienne ont d’abord permis de se pencher sur l’invention d’une commémoration qui, si elle prend forme au cours d’un débat politique intense, se caractérise surtout par la mise en scène d’éléments intégrés dans le patrimoine matériel et immatériel de la Nation lors de la sortie de guerre autour desquels les organisateurs déploient un rituel de circonstance : la minute de silence. Filmée de sa création à 2012, la commémoration du 11 Novembre a aussi été étudiée, pour chaque époque, à travers le prisme des images animées. Mots clefs : commémoration, politiques publiques du passé, 11 Novembre, rituels, actualités cinématographiques, télévision
En 1919, la France sort d’une guerre au cours de laquelle elle a subi des pertes humaines jusque-là inimaginables. L’État est alors amené à inventer de nouveaux outils pour faire face au deuil et au traumatisme. C’est l’un d’entre eux, le 11 Novembre, que cette thèse a interrogé dans sa dimension parisienne de 1919 à 2012. Les archives administratives, les comptes rendus des débats parlementaire et la presse quotidienne ont d’abord permis de se pencher sur l’invention d’une commémoration qui, si elle prend forme au cours d’un débat politique intense, se caractérise surtout par la mise en scène d’éléments intégrés dans le patrimoine matériel et immatériel de la Nation lors de la sortie de guerre autour desquels les organisateurs déploient un rituel de circonstance : la minute de silence. Filmée de sa création à 2012, la commémoration du 11 Novembre a aussi été étudiée, pour chaque époque, à travers le prisme des images animées. Mots clefs : commémoration, politiques publiques du passé, 11 Novembre, rituels, actualités cinématographiques, télévision
In 1919, France is emerging from a war in which she suffered a number of casualties previously unimaginable. The State is then brought to invent new tools to deal with the trauma of war and grief that affects society. Among them, the commemoration of the Armistice of November 11, 1918 has crossed the century and persists as a major event despite the disappearance of the last veterans of the Great War. This thesis focuses on the national ceremony on November 11, held annually since 1922 in Paris. It aims first to look at the genesis of a commemoration, which was established after an intense political debate. The commemoration was organized around specific old and new rituals : the flags of the regiments disbanded and the unknown Soldier, or the minute of silence). This elements that became permanent emphasized the mournig dimension of the commemoration. Filmed from 1923 to 2012, the commemoration of November 11 has also been studied through the prism of the images broadcasted in the medias. Keywords: commemoration, publics policies of the past, Novembre 11th, rituals, newreels, television
In 1919, France is emerging from a war in which she suffered a number of casualties previously unimaginable. The State is then brought to invent new tools to deal with the trauma of war and grief that affects society. Among them, the commemoration of the Armistice of November 11, 1918 has crossed the century and persists as a major event despite the disappearance of the last veterans of the Great War. This thesis focuses on the national ceremony on November 11, held annually since 1922 in Paris. It aims first to look at the genesis of a commemoration, which was established after an intense political debate. The commemoration was organized around specific old and new rituals : the flags of the regiments disbanded and the unknown Soldier, or the minute of silence). This elements that became permanent emphasized the mournig dimension of the commemoration. Filmed from 1923 to 2012, the commemoration of November 11 has also been studied through the prism of the images broadcasted in the medias. Keywords: commemoration, publics policies of the past, Novembre 11th, rituals, newreels, television
Konaté, Diola. "Réflexions poétiques de l'Afrique dans l'oeuvre d'un écrivain ethnologue surréaliste : Michel Leiris". Clermont-Ferrand 2, 1993. http://www.theses.fr/1993CLF20048.
Pełny tekst źródłaThe narrator-poet and ethnographer at the same time-in his literary creations and ther works structures around the theme about africa a theory giving a new dynamic value to the authentic reflections expresin, the spiritual and cultural values and the africa heritage-a theory doubly throun into relief in our study on account of michel leiris' double vocation. According to the ethngrapher all aspects described in his travel book as manners and customs, rites and apparent sources of beliefs, exploitation of magic knouledges and resorts to mythical survivals deserve to be taken into account, for they represent basis from which the africa black explains and integrates his naturel environment but also throngh which be states his attachment to his origins. According to the poet the travel throngh the complex circonvolutions of these irrational wealths, beyond the passion for myths and cultures unknoun of that time, becomes a means of being objective towards the rational logic and to reach a better acquaintance of oneself and the then - a poetic experimentation that he carries on even in his dreams (image of the ethnographe
Konaré, Alhousseyni. "Mystique et prophétie chez Léopold Sédar Senghor et Aimé Césaire". Paris 4, 1986. http://www.theses.fr/1986PA040286.
Pełny tekst źródła