Готові списки джерел за темами / French collections

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Добірка наукової літератури з теми "French collections"

Автор: Grafiati
Опубліковано: 29 березня 2025

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Статті в журналах з теми "French collections"

1

Chung, D. "French harpsichord collections." Early Music 38, no. 1 (January 28, 2010): 160–64. http://dx.doi.org/10.1093/em/cap127.

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Chung, David. "French keyboard collections." Early Music 43, no. 4 (November 2015): 713–16. http://dx.doi.org/10.1093/em/cav093.

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Chung, David. "French collections: a precious miscellany." Early Music 48, no. 2 (May 2020): 281–84. http://dx.doi.org/10.1093/em/caaa032.

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Meslay, Olivier. "“The Greater Inclination” in French Collections." American Art 22, no. 3 (September 2008): 23–25. http://dx.doi.org/10.1086/595805.

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5

LIPKOWITZ, ELISE S. "Seized natural-history collections and the redefinition of scientific cosmopolitanism in the era of the French Revolution." British Journal for the History of Science 47, no. 1 (March 26, 2013): 15–41. http://dx.doi.org/10.1017/s0007087413000010.

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AbstractIn order to recast scholarly understanding of scientific cosmopolitanism during the French Revolution, this essay examines the stories of the natural-history collections of the Dutch Stadholder and the French naturalist Labillardière that were seized as war booty. The essay contextualizes French and British savants' responses to the seized collections within their respective understandings of the relationship between science and state and of the property rights associated with scientific collections, and definitions of war booty that antedated modern transnational legal conventions. The essay argues that the French and British savants' responses to seized natural-history collections demonstrate no universal approach to their treatment. Nonetheless, it contends that the French and British approaches to these collections reveal the emergence in the 1790s of new forms of scientific nationalism that purported to be cosmopolitan – French scientific universalism and British liberal scientific improvement.
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6

Tylus, Piotr. "Kultura francuska w Polsce w XVIII w. na podstawie kolekcji rękopisów francuskich w Bibliotece Jagiellońskiej." Rocznik Biblioteki Naukowej PAU i PAN 68 (February 2024): 99–106. http://dx.doi.org/10.4467/25440500rbn.23.006.19332.

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French culture in 18th c. Poland on the basis of the Jagiellonian Library French manuscripts collection The article discusses the presence of French culture in Poland during the 18th century, specifically focusing on the presence of the French language based on a collection of French manuscripts stored in the Jagiellonian Library. Various types of texts are cov- ered here (political, diplomatic, administrative, as well as private correspondence, trav- el journals, scientific treatises, texts relevant to the study of Polish history, etc.) that are preserved in the Jagiellonian Library’s manuscript collection, authored or copied by Poles. The French manuscripts found in these collections are mainly of “Polish” origin, created in Poland; they were written by Poles and they vividly demonstrate the signifi- cant role played by the French language and French culture during the mentioned period.
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Wisner, D. A. "French neo-classical artists and their collections." Journal of the History of Collections 24, no. 2 (May 5, 2011): 231–42. http://dx.doi.org/10.1093/jhc/fhr015.

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INEICH, IVAN, IGOR V. DORONIN, MARC CHEYLAN, and PATRICK D. CAMPBELL. "Additional data on the herpetological collection of Louis Amédée Lantz (1886–1953), with emphasis on specimens in the Natural History Museum, London." Zootaxa 4638, no. 1 (July 15, 2019): 95–113. http://dx.doi.org/10.11646/zootaxa.4638.1.4.

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Several recent papers have reviewed the life and work of French herpetologist Louis Amédée Lantz. They have detailed the composition of his collections deposited in several museums. However, since then, several other important specimens from his collections deposited at the Natural History Museum (NHM, UK) have come to light and we here present all of them in detail. We discovered paralectotypes of Lacerta saxicola obscura Lantz & Cyrén (BMNH 1918.11.21.5–7), syntypes of Lacerta boemica Sukhov (BMNH 1960.1.4.26–30, BMNH 1965.337–342) and Lacerta viridis media Lantz & Cyrén (BMNH 1960.1.4.25, 1966.512). We also identified numerous specimens from the French Mediterranean islands in Lantz’s collection deposited at the NHM, some of which represent the first reported specimens of their species from certain islands. We here provide data on all these specimens. We also place the Mediterranean island specimens from the Lantz collection in their historical context and emphasize the historical and taxonomic value of these collections.
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Alduy, Cécile. "Lyric Economies: Manufacturing Values in French Petrarchan Collections (1549–60)*." Renaissance Quarterly 63, no. 3 (2010): 721–53. http://dx.doi.org/10.1086/656927.

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AbstractBetween 1549 and 1560, French Petrarchan sonnet sequences proliferated in the wake of Du Bellay'sDefense and Illustration of the French Tongueand Ronsard'sAmours. Yet this proliferation relied on a remarkable economy of means, in large part due to the constant recycling of metaphors, tropes, and forms. In fact, the genre can be read as a cost-efficient system that addressed the economic anxiety of a generation of poets caught between the aspiration to impose the autonomy of their art and their social dependence on a patron. It also preemptively solved the potential credit crisis that could have resulted from having had to borrow from the Italians in order to establish a new French canon. Looking at Ronsard, Du Bellay, and Ellain, this essay examines French Petrarchan collections as complex lyric economies that manufacture and negotiate aesthetic, literary, monetary, and national values.
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Thompson, Neville. "FRENCH CLOCKS IN NORTH AMERICAN COLLECTIONS. Winthrop Edey." Art Documentation: Journal of the Art Libraries Society of North America 5, no. 2 (July 1986): 97. http://dx.doi.org/10.1086/adx.5.2.27947604.

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Дисертації з теми "French collections"

1

Brooks, Laura Jeanice. "French chansons collections on the texts of Pierre de Ronsard, 1570-1580 /." Ann Arbor : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37103588v.

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Chong, Siu-ping Amy. "The chansons of Claudin de Sermisy in Attaingnant's Chansons nouvelles and other early collections /." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25085505.

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Sewright, Kathleen Frances Nádas John Louis. "Poetic anthologies of fifteenth-century France and their relationship to collections of the French secular polyphonic chanson." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2008. http://dc.lib.unc.edu/u?/etd,1827.

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Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2008.
Title from electronic title page (viewed Dec. 11, 2008). "... in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music." Discipline: Music; Department/School: Music.
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4

莊小屛 and Siu-ping Amy Chong. "The chansons of Claudin de Sermisy in Attaingnant's Chansons nouvellesand other early collections." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31225871.

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5

Grodzinski, Veronika. "French Impressionism and German Jews : the making of modernist art collectors and art collections in Imperial Germany 1896-1914." Thesis, University College London (University of London), 2005. http://discovery.ucl.ac.uk/1444726/.

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This interdisciplinary thesis is the first dedicated study of German Jewish patronage of French Impressionist and post-Impressionist art in Wilhelmine Germany. It investigates the disproportionately strong impact of German Jewish patronage from three perspectives. It examines the significance of Paul Cassirer's modernist art dealership, the prominence of German Jewish art collectors and their modernist art collections and the presence of German Jewish sponsorship at the Nationalgalerie Berlin, the Pinakothek Munich and the Stadelsche Kunstinstitut in Frankfurt am Main. First it examines Impressionism as the 'painting of modern life' in its original French context, focussing on French Jewish dealer-patrons and collectors whose association with French modernist artists influenced not only its iconography, but also involved French Jews in modern art promotion and marketing. The French model serves as a basis for understanding the reception of such art amongst a liberal circle of Germans and German Jews. The study examines the Wilhelmine reaction to French modernism and shows how antagonism toward Jews and France was often linked and interpreted by conservatives as 'alien elements' in nationalist Germany, thus highlighting Impressionism as a threat of a new Weltanschauung. This thesis suggests that although some German Jews acculturated to the dominant Wilhelmine culture, the championing of modernist art actually emphasized their Jewishness and their role as the 'Other' in German society, despite their patriotism. Yet, in the long run, German Jewish taste for the avant-garde had as much influence on German modernism as German taste had on Jews. The study hypothesizes that German Jews embraced French Impressionism as an 'iconography of inclusion' that coincided with their own experience of modern life and thus their patronage served as a component in the construction of their secular identities. The study concludes that strong German Jewish patronage changed the modern art market irrevocably and by doing so it was not only a turning point for the writing of modern art histories, but also for the reassessment of German Jewish cultural identities, thereby proving that the history of modernist European art patronage encompassed also a history of ideas.
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Banguiam, Kodjalbaye Olivier. "Les officiers français : constitution et devenir de leurs collections africaines issues de la conquête coloniale." Thesis, Paris 10, 2016. http://www.theses.fr/2016PA100045/document.

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Consacrée aux collections africaines des officiers coloniaux français, cette recherche soulève la question de l’exploration et de la conquête de l’Afrique à la fin du XIXè siècle et au début du XXè siècle. Parmi les explorateurs envoyés par les pays européens pour coloniser les populations africaines figurent des hommes de couches sociales et de professions différentes. On peut citer, par exemple, les missionnaires, les administrateurs, les militaires. Il est privilégié ici l’étude de l’action coloniale des officiers français engagés dans une série de régions (Mali, Sénégal, Congo, Tchad, République Centrafricaine…). Lors des missions d’exploration, ces hommes y découvraient un éventail d’objets (armes, instruments de musique, objets d’utilité quotidienne, objets rituels…) qu’ils collectaient sous l’incitation des instructions reçues en France avant leur départ. Il convient d’étudier les provenances géographiques et les conditions d’acquisition de ces objets afin de dégager la particularité des collections rassemblées par les officiers. Au terme de leurs périples, ceux-ci rapportaient en France ces collections qu’ils offraient aux musées comme le Musée de l’Homme et le Musée de l’Armée. Aujourd’hui, le Musée du Quai Branly conserve de précieux dossiers sur ces militaires (Archinard, Brazza, Marchand, Tilho…) ainsi que les traces de leurs dons. Après avoir répertorié environ 1500 objets dont l’histoire est indissociable à celle de la colonisation de l’Afrique, on déduit que ces oeuvres constituent un véritable héritage colonial permettant d’analyser la vision européenne et la perception des militaires français par rapport à la culture matérielle africaine. Par ailleurs, l’étude de cet acquis colonial peut révéler le degré de civilisation des populations locales qui avaient fabriqué et utilisé les articles concernés à la fin du XIXè siècle et au début du XXè siècle
This research concerns the French officers contribution during the colonization of Africa and the quality of the african objects that they collected. It aims to study the exploration and the conquest of Africa at the end of the 19th century and the beginning of the 20th century. During this period, European countries sent in the different parts of the continent many explorers to colonize the population. Those explorers had different social classes and jobs. Among them, there were, for example, religious persons, administrators and soldiers. It is the colonial action of the French officers in the different countries of Africa (Mali, Senegal, Congo, Chad, Central Africa Republic…) that is studing. During the exploration travel, the colonial officers discovered in those countries different kinds of objects. According of the instructions they received in France before their travel, they collected the local objects as the arms, the royal objects, the music objects, the cooking objects, the objects of the traditional ceremony. It’s interesting to study where the objects provided and the conditions of the collect. It’s a best way to know the particularities of the result of the officers discoveries. At the end of the journey in Africa, the officers brought to France the result of the collect and offered the objects to the French museums as the Musée de l’Homme, the Musée de l’Armée. Today, the Musée du Quai Branly is conserving the documents about the exploration travels of many officers (Archinard, Brazza, Marchand, Tilho, Lenfant…) and some of the objects they had collected for studying the customs of the African populations. We interroged about 1500 objects they had collected. The history of those objects is associated to the Africa colonization history. Nowadays, those objects constitute a colonial heritage and permit to analyze the European vision and the military perception about the African material culture and to know the degree of the civilization of the African populations who made and used those objects in Africa at the end of the 19th century and the beginning of the 20th
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Rocher, Yves-Marie. "Le musée de l’Armée et ses collections sous la Troisième République." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL163.

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La création officielle du musée de l’Armée au sein de l’Hôtel des Invalides se fait en 1905 du regroupement de deux établissements préexistants, le musée historique de l’Armée et le musée d’Artillerie. Ce faisant, ce sont deux conceptions des collections d’objets militaires qui se regroupent sous une même tutelle. Alors que l’un est avant tout un musée des techniques, soucieux de retranscrire les évolutions de l’armement au fil du temps, l’autre cherche à transmettre au visiteur un sentiment de grandeur nationale intemporelle dont l’armée est le ciment et le reflet. Cette double ascendance va être au cœur des questionnements sur la muséographie et les choix relatifs à la collection durant toute la vie de l’établissement. La place de la mémoire va notamment être un enjeu permanent. Les premiers temps de mise en place de ce grand musée s’arrêtent avec la Grande Guerre qui voit à la fois le musée ralentir son activité et connaître une grande affluence avec l’exposition des trophées et des peintures réalisées sur le front. Cet épisode si particulier de la vie de l’établissement va initier la création de nouvelles salles dès 1915 et donner au musée l’ambition d’être un lieu phare de la mémoire du premier conflit mondial. Cette aspiration se heurte à la fois aux moyens limités du musée alloués par le ministère de la Guerre et à l’expression même de ces commémorations. L’obtention de l’autonomie financière du musée en 1928 va transformer l’établissement qui s’inspire alors des collections privées. Séparant nettement les parties consacrées à la mémoire de celles montrant la collection, l’établissement se donne alors une politique qui perdure au-delà du second conflit mondial
The 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
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Harris, John. "Structural coherence in early anthologies of French prose short stories : a study of the unframed collections compiled at the time of François I." Thesis, Royal Holloway, University of London, 1987. http://repository.royalholloway.ac.uk/items/2e430c40-9caa-4261-a000-45303faea6b4/1/.

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Four anthologies of sixteenth-century French prose contes are examined, with the aim of elucidating the processes which informed their compilation and the reading strategies which they imply, and the relationship between the structural coherence of unframed anthologies and that of collections incorporating a frame-story structure.'Framed' collections and their structures have served as the yardstick against which unframed anthologies have been measured, and judged to be loose compilations whose component tales may be read in any order. Though the view of framed collections implied by this comparison may also be questioned, this study con-centrates on the structural aspects of four anthologies - those by Philippe de Vigneulles and Bonaventure Des P6riers, and the anonymous Parangon de Nouvelles and Parolles Joyeuses - while yet noting the major points of similarity and dissimilarity with framed collections. Evidence for the methods of construction involved and for the reading strategies which were envisaged are sought in the prolegomena, and in the general or particular structural ties made explicit or especially prominent in the stories. This search is extended through a survey of the deeper and implicit levels of consonance between stories, where related elements may be considered to have played an important part in thejuxtaposition of particular narratives or the construction of the whole text and may also influence the ways in which they will be read. Finally, the closure of each anthology is examined and the contribution of its terminal structures evaluated. The evidence of the features identified and classified leads to the conclusion that in each anthology there is a strong linear structure which, while it cannot prevent other reading strategies, encourages a predominantly sequential approach to the stories.
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Papini, Lilian Dalila Trindade de Camargo. "Toulouse-Lautrec no Museu de Arte de São Paulo (MASP)." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-27012016-132604/.

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Henri de Toulouse-Lautrec (1863-1901) está presente no acervo do Museu de Arte de São Paulo Assis Chateaubriand (MASP) com onze obras que expõem diferentes momentos do percurso do artista, englobando mais de vinte anos de produção. A partir desse conjunto, o presente trabalho propõe a análise dessas obras, assim como as conjunturas de aquisição e de suas coleções anteriores à entrada no acervo do museu. Buscamos compreendê-las dentro do espaço do museu como objetos carregados de história, que permitem entender a obra e vida do artista, assim como as questões encadeadas pela trajetória dessas obras até o museu.
Henri de Toulouse-Lautrec (1863-1901) is present in the collection of the São Paulo Museum of Art Assis Chateaubriand (MASP) with eleven artworks that expose different moments of the artist\'s journey, encompassing more than twenty years of production. This research proposes to examine this set of artworks, as well as situations of acquisition and their previous collections at the entrance to the museum\'s collection, We seek to understand them within the museum space as historical objects, which allow us to understand the work and the artist\'s life, as well as issues posed by the trajectory of these works to the museum.
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Bedianashvili, Giorgi. "The Koban necropolis and the Late Bronze -Early Iron Age Caucasus : Ernest Chantre’s Koban collections from the French National Archaeological (Saint-Germain-en-Laye) and Confluences (Lyon) Museums." Thesis, Paris, EPHE, 2016. http://www.theses.fr/2016EPHE4035.

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Cette recherche doctorale repose sur l’analyse des collections archéologiques de la nécropole de Koban, découvertes par Ernest Chantre, actuellement conservées au musée d'archéologie nationale de Saint-Germain en Laye et au musée des Confluences à Lyon. La nécropole de Koban située dans le Nord Caucase fût découverte par Ernest Chantre en 1881. Le site de Koban a donné son nom à l’une des cultures du Bronze récent et du premier âge du Fer du Nord Caucase. Cette thèse porte sur l’ensemble des objets mis au jour à Koban, publiés et non publiés. Par une analyse systématique innovante, cette recherche a permis d’élaborer une classification typologique. Ces données ont été comparées avec du matériel provenant d’autres régions du Caucase. Cetteanalyse des objets a notamment permis de comprendre l’environnement culturel de la nécropole de Koban soulignant ainsi des influences d’autres régions du Caucase – Colchis and Shida Kartli. L’une des composantes majeures de cette recherche est la reconstruction des assemblages funéraires de Koban, qui montrent des aspects inconnus à ce jour. De nouvelles datations radiocarbones réalisées sur la tombe 9 nous ont également permis de réexaminer de façon extensive la chronologie de la nécropole de Koban
This work examines Ernest Chantre’s archaeological collections from the Koban necropolis, stored at the National Archaeological Museum of France, at Saint-Germain-en-Laye and the Confluences Museum in Lyon. The Koban necropolis, which was excavated by Chantre in 1881, is located in the North Caucasus. It has given its name to one of the Late Bronze and Early Iron Age cultures of the Caucasus.This dissertation brings to light Koban objects, both published and unpublished, and organizes themin a systematic fashion. Typological classification of each group of objects is examined andpresented. These data are then compared with materials from other parts of the Caucasus. The focus of the research determines the cultural environment of the Koban necropolis in the Caucasus region, as objects from this site reflect certain characteristic features of different regions of the Caucasus such as Colchis and Shida Kartli.One of the main components of this dissertation is the reconstruction of Koban funeral assemblages.These are presented differently here than has previously been done. Along with presenting the assemblages, radiocarbon data is also presented from grave no. 9, which enables us to re-examine, to an extent, the chronology of Koban necropolis
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Книги з теми "French collections"

1

Marilyn Mc Neil De Latour. Through French doors. Pass Christian, MS (P.O. Box 524, Pass Christian 39571): Southern Poetry Association, 1996.

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2

Lane, Gary. Beating the French. London: Batsford, 1994.

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3

Marie-Christine, Mégevand, Julhiet Céline, Hilaire Michel, Aubert Jean 1921-, Ramade Patrick, Montreal Museum of Fine Arts, Musée des beaux-arts de Rennes, Musée Fabre, and Réunion des musées nationaux (France), eds. Century of splendour: Seventeenth-century French painting in French public collections. Montreal: Montreal Museum of Fine Arts, 1993.

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4

Picard, Pascale. Mirabilis: Collections d'Avignon. Cinisello Balsamo, Milano: Silvana editoriale, 2018.

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5

Psakhis, Lev. French defence 3 Nd2. London: B.T. Batsford, 2003.

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Uhlmann, Wolfgang. Winning with the French. London: Batsford, 1995.

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7

Judi, Freeman, Rand Richard, and Los Angeles County Museum of Art., eds. Monet to Matisse: French art in Southern California collections. Los Angeles, Calif: Los Angeles County Museum of Art, 1991.

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8

Picasso, Pablo. Metamorphoses 1900-1972: Works from the French collections. Mumbai: India Book House PVT Ltd, 2002.

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9

Tavener, Holmes Mary, and Metropolitan Museum of Art (New York, N.Y.), eds. Eighteenth-century French drawings in New York collections. New York: Metropolitan Museum of Art, 1999.

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10

Georges, Depeyrot, Pommier Aimé, France. Administration des monnaies et médailles., and France. Direction des monnaies et médailles., eds. Les Collections monetaires. Paris: Administration des Monnais et Médailles, 1985.

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Частини книг з теми "French collections"

1

Holmes, Susan. "Multivariate data analysis: The French way." In Institute of Mathematical Statistics Collections, 219–33. Beachwood, Ohio, USA: Institute of Mathematical Statistics, 2008. http://dx.doi.org/10.1214/193940307000000455.

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Scully, Terence. "The Sickdish in Early French Recipe Collections." In Health, Disease and Healing in Medieval Culture, 132–40. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-21882-0_9.

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Goffart, Walter. "Charters Earlier than 800 from French Collections." In Barbarians, Maps, and Historiography, 204–22. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003417644-11.

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Lombez, Christine. "Translating German poetry into French under the Occupation." In Translation in Anthologies and Collections (19th and 20th Centuries), 205–16. Amsterdam: John Benjamins Publishing Company, 2013. http://dx.doi.org/10.1075/btl.107.17lom.

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Eichbauer, Melodie H. "Hugh of St. Victor, Peter Lombard, and Northern French Canonical Collections." In Law in a Culture of Theology, 80–111. London: Routledge, 2025. https://doi.org/10.4324/9781003465096-4.

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D’hulst, Lieven. "Forms and functions of anthologies of translations into French in the nineteenth century." In Translation in Anthologies and Collections (19th and 20th Centuries), 17–34. Amsterdam: John Benjamins Publishing Company, 2013. http://dx.doi.org/10.1075/btl.107.04dhu.

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Petras, Vivien, Natalia Perelman, and Fredric Gey. "Using Thesauri in Cross-Language Retrieval of German and French Indexed Collections." In Advances in Cross-Language Information Retrieval, 349–62. Berlin, Heidelberg: Springer Berlin Heidelberg, 2003. http://dx.doi.org/10.1007/978-3-540-45237-9_31.

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Hibert, Marcel. "Collections of molecules for screening: example of the french national chemical library." In Chemogenomics and Chemical Genetics, 23–28. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-19615-7_2.

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Maier, Lukas. "König, Königin, Königinmutter." In Übersetzungskulturen der Frühen Neuzeit, 373–99. Berlin, Heidelberg: Springer Berlin Heidelberg, 2021. http://dx.doi.org/10.1007/978-3-662-62562-0_19.

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ZusammenfassungUnder King Charles I, Queen Henrietta Maria, and the exiled French Queen Mother Maria de’ Medici, St James’s Palace in London became the scene of various cultural translation processes that were subject to different strategies and objectives. Henrietta Maria not only presented herself as the mother of the future Stuart kings, but also emphasized her Bourbon heritage with her French bedroom suite. Charles I staged himself as British emperor in the gallery and garden by translating the display context of artworks in continental European collections. Translation efforts could also have a mediating function, as can be seen in Inigo Jones’ Queen's Chapel and the apartment of Marie de’ Medici, which combined both English and French court ceremonial.
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Augusti, Valéria. "Collections of French Novels on the Atlantic Route: From Lisbon to Grêmio Literário Português do Pará." In The Transatlantic Circulation of Novels Between Europe and Brazil, 1789-1914, 223–48. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-46837-2_11.

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Тези доповідей конференцій з теми "French collections"

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Bazhenova, O. D. "Architectural treatises of the 18th century in libraries of Belarus." In Fedorovskie Chteniya – 2024. To the 460th Anniversary of Russian Book Printing, 21–27. Scientific and Publishing Center "Science" of the Russian Academy of Sciences, 2024. https://doi.org/10.52929/9785605111030_21.

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The article actualises the importance of collections of architectural tracts in the collections of old printed books in the libraries of Belarus. Six treatises from the theoretical heritage of the French neoclassicist architect Jacques François Blondel (1705–1774), professor atthe Royal Academy of Architecture, a leading theorist of the French school of architecture of the mid–18th century, are presented as an example. The books not only contain elegant text with detailed and careful analyses of architectural problems and architectural monuments of France of the 17th century, but also represent rare engravings. The aestheticism of these editions is not inferior to the scientific significance of the arguments they contain, which actualise for modern art history the hitherto unresolved problems of the formation of regional architectural schools. It is shown that library collections preserve not just museum material, but living and actively perceived by architectural historians’ analytical sources.
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Godart, Bruno, and Christophe Aubagnac. "The new French interactive Guide for Investigations on Structures." In IABSE Symposium, Guimarães 2019: Towards a Resilient Built Environment Risk and Asset Management. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2019. http://dx.doi.org/10.2749/guimaraes.2019.1688.

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<p>IFSTTAR, in collaboration with the CEREMA, decided to publish in 2015 an interactive guide on the investigations (or auscultation) of bridges which has two main parts. A first part presents more than one hundred auscultation methods for "materials" and "structures" that are sufficiently valid, giving for each method its principle, its field of application, the limits and conditions of use, the specific constraints, the precision of the measurements, as well as elements on the availability and the cost. A second part presents the diagnostic methodologies combining various auscultation methods according to an optimal scheduling in order to know the condition of the structures. The guide is on internet and uses hypertext links to connect all the documents. This guide, which aims to be a simple document to read, pedagogical and didactic, is continuously improved. It may be found at the following address: http://www.ifsttar.fr/collections/CahiersInteractifs/CII1/index.html</p>
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Autran, Camille, and Francois Guena. "3D reconstruction for museums and scattered collections applied research for the Alexandre Lenoir's museum of French monument." In 2015 Digital Heritage. IEEE, 2015. http://dx.doi.org/10.1109/digitalheritage.2015.7413831.

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Zhitin, R., and A. Topil'skiy. "“Manor libraries of the Tambov province of the late 18th – early 20th centuries”: a method of creating an information resource." In Historical research in the context of data science: Information resources, analytical methods and digital technologies. LLC MAKS Press, 2020. http://dx.doi.org/10.29003/m1805.978-5-317-06529-4/166-172.

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The article analyzes the main approaches to creating an information resource “Estate libraries of the Tambov province of the late XVIII – early XX century. The author analyzes the source base, identifies ways to systematize book collections of Tambov nobles of the XVIII–XIX centuries in Russian, French, Greek, Latin, English and German, and their significance for the study of book culture in the region
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Zhitin, R., and A. Topil'skiy. "“Manor libraries of the Tambov province of the late 18th – early 20th centuries”: a method of creating an information resource." In Historical research in the context of data science: Information resources, analytical methods and digital technologies. LLC MAKS Press, 2020. http://dx.doi.org/10.29003/m1805.978-5-317-06529-4/166-172.

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The article analyzes the main approaches to creating an information resource “Estate libraries of the Tambov province of the late XVIII – early XX century. The author analyzes the source base, identifies ways to systematize book collections of Tambov nobles of the XVIII–XIX centuries in Russian, French, Greek, Latin, English and German, and their significance for the study of book culture in the region
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Beniddir, MA. "Digitizing historical collections of natural products to further explore the monoterpene indole alkaloids chemical space." In 67th International Congress and Annual Meeting of the Society for Medicinal Plant and Natural Product Research (GA) in cooperation with the French Society of Pharmacognosy AFERP. © Georg Thieme Verlag KG, 2019. http://dx.doi.org/10.1055/s-0039-3399672.

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Sung, JS, YJ Jung, AD Assefa, OS Hur, NY Ro, JE Lee, HS Lee, and JH Rhee. "Variability of total phenolic content and main phenolic compounds in the germplasm collections of Perilla frutescens leaves." In 67th International Congress and Annual Meeting of the Society for Medicinal Plant and Natural Product Research (GA) in cooperation with the French Society of Pharmacognosy AFERP. © Georg Thieme Verlag KG, 2019. http://dx.doi.org/10.1055/s-0039-3400415.

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Lupu, Simion Sorin. "Diction problems and their solution in Nordic lied." In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.02.

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The article represents a research of the problems related to the diction in the Nordic lied, determined by the peculiarities of the North Germanic and Finno-Ugric languages and their solution. Given that the musicians chosen for the present research composed on lyrics written in the Swedish, Danish, Norwegian and Finnish languages, we focused mainly on the pronunciation in these languages. Thus, the euphonic differentiation of the vowels compared to the repertoire approached so far (in Italian, French, German, English and Spanish), represents the main difficulty in performing the Nordic lied. Solving some difficulties of pronunciation, articulation, impostation, dosage or expressiveness, have proven to be of real use in approaching the repertoire in the above-mentioned languages, and the problems raised by phonetic and linguistic peculiarities of the Nordic languages have motivated the identification of arguments, solutions and sometimes novel but functional solutions.
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Junqueira, Mariana Garcia, and Gilberto Sarkis Yunes. "A iluminação artificial como elemento estruturador da paisagem urbana contemporânea." In Seminario Internacional de Investigación en Urbanismo. Barcelona: Facultad de Arquitectura. Universidad de la República, 2015. http://dx.doi.org/10.5821/siiu.6216.

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O artigo aborda o papel da Iluminação Artificial no planejamento urbano, considerando que, entre as diversas leituras possíveis de cidade, esta pode ser incorporada em sua configuração e estruturação como elemento evidenciador do acervo de seus tempos. Entende-se que a apreensão dessa paisagem urbana depende da organização e identificação de seus acervos, adotando-se estratégia de concepção semelhante a de um projeto expográfico museológico. A responsabilidade funcional de permitir a visão noturna encobriu, por muito tempo, outras potencialidades da luz e, foi apenas no final do século XX que mudanças tomaram forma. Buscando requalificar espaços urbanos, diversas intervenções têm sido praticadas, entretanto, sem muitas considerações com relação ao impacto que provocam sobre o contexto urbano. Analisa-se e defende-se o Plano Diretor de Iluminação como instrumento de gestão que adota a base teórica da metodologia francesa, o L’Urbanisme Lumière, pois recomenda o uso das intervenções luminotécnicas considerando a contextualização espacial do projeto. The article discusses the role of artificial lighting in urban planning, considering that, among the various possible readings of the cities, this can be incorporated into your configuration and structure as disclosing element of the collection of their times. It is understood that the seizure of this urban landscape depends on the organization and identification of its collections, adopting design strategy similar to that of a museum expographic project. Functional responsibility to enable night vision shrouded, long, other light potential and it was only in the late twentieth century that changes took shape. Seeking requalify urban spaces, several interventions have been practiced, however, without much consideration about the impact they cause on the urban context. Analyzes and argues the Master Lighting Plan as a management tool that adopts the theoretical basis of French methodology, L'Urbanisme Lumière because it recommends using lighting design interventions considering the spatial context of the project.
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Langmann, D., Reinhold Haeb-Umbach, Louis Boves, and E. den Os. "FRESCO: the French telephone speech data collection - part of the european Speechdat(m) project." In 4th International Conference on Spoken Language Processing (ICSLP 1996). ISCA: ISCA, 1996. http://dx.doi.org/10.21437/icslp.1996-492.

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Звіти організацій з теми "French collections"

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Martin, Kathi, Nick Jushchyshyn, and Claire King. Christian Lacroix Evening gown c.1990. Drexel Digital Museum, 2017. http://dx.doi.org/10.17918/wq7d-mc48.

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The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening gown by French fashion designer Christian Lacroix with related text. This evening gown by Christian Lacroix is from his Fall 1990 collection. It is constructed from silk plain weave, printed with an abstract motif in the bright, deep colors of the local costumes of Lacroix's native Arles, France; and embellished with diamanté and insets of handkerchief edged silk chiffon. Ruffles of pleated silk organza in a neutral bird feather print and also finished with a handkerchief edge, accentuate the asymmetrical draping of the gown. Ruching, controlled by internal drawstrings and ties, creates volume and a slight pouf, a nod to 'le pouf' silhouette Lacroix popularized in his collection for Patou in 1986. Decorative boning on the front of the bodice reflects Lacroix's early education as a costume historian and his sartorial reinterpretation of historic corsets. It is from the private collection of Mari Shaw. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan technology. It is representative the ongoing research of the DDM, an international, interdisciplinary group of researchers focused on production, conservation and dissemination of new media for exhibition of historic fashion.
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Sharpe, D. R., G. Leduc, C. S. Smart, and J. Shaw. Georgian Bay bedrock erosion: evidence for regional floods, Ontario. Natural Resources Canada/CMSS/Information Management, 2023. http://dx.doi.org/10.4095/331409.

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We provide an updated presentation of the spectacular erosion forms at French River Ontario (Kor et al. 1991) based on new methods of data collection and wider observations. This work includes ~ 10 more detailed study sites, documentation of the range of forms over a larger area, the use of extensive drone image capture and ground surveys, as well as a detailed inventory of forms. Key sites are illustrated using video images. The update extends the conclusions of the Kor paper regarding the significance and scale of subglacial meltwater erosion with some novel findings. We document the importance of plucking (including hydraulic plucking) and, the control of structure on s-forms, which were not highlighted in the Kor study. Apparent cavitation erosion forms are prominent across the study area and provide support for inferred high-velocity meltwater flow. A growing interpretative framework includes discussion of evidence to test a theorized hydraulic sequence of sheet-channel-distributed flow, followed by re-grounding of glacial ice as meltwater flow waned. This hydraulic sequence may also be complementary to observations in thick sediment terrain down flow.
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Cox, Jeremy. The unheard voice and the unseen shadow. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.621671.

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The French composer Francis Poulenc had a profound admiration and empathy for the writings of the Spanish poet Federico García Lorca. That empathy was rooted in shared aspects of the artistic temperament of the two figures but was also undoubtedly reinforced by Poulenc’s fellow-feeling on a human level. As someone who wrestled with his own homosexuality and who kept his orientation and his relationships apart from his public persona, Poulenc would have felt an instinctive affinity for a figure who endured similar internal conflicts but who, especially in his later life and poetry, was more open about his sexuality. Lorca paid a heavy price for this refusal to dissimulate; his arrest in August 1936 and his assassination the following day, probably by Nationalist militia, was accompanied by taunts from his killers about his sexuality. Everything about the Spanish poet’s life, his artistic affinities, his personal predilections and even the relationship between these and his death made him someone to whom Poulenc would be naturally drawn and whose untimely demise he would feel keenly and might wish to commemorate musically. Starting with the death of both his parents while he was still in his teens, reinforced by the sudden loss in 1930 of an especially close friend, confidante and kindred spirit, and continuing throughout the remainder of his life with the periodic loss of close friends, companions and fellow-artists, Poulenc’s life was marked by a succession of bereavements. Significantly, many of the dedications that head up his compositions are ‘to the memory of’ the individual named. As Poulenc grew older, and the list of those whom he had outlived lengthened inexorably, his natural tendency towards the nostalgic and the elegiac fused with a growing sense of what might be termed a ‘survivor’s anguish’, part of which he sublimated into his musical works. It should therefore come as no surprise that, during the 1940s, and in fulfilment of a desire that he had felt since the poet’s death, he should turn to Lorca for inspiration and, in the process, attempt his own act of homage in two separate works: the Violin Sonata and the ‘Trois Chansons de Federico García Lorca’. This exposition attempts to unfold aspects of the two men’s aesthetic pre-occupations and to show how the parallels uncovered cast reciprocal light upon their respective approaches to the creative process. It also examines the network of enfolded associations, musical and autobiographical, which link Poulenc’s two compositions commemorating Lorca, not only to one another but also to a wider circle of the composer’s works, especially his cycle setting poems of Guillaume Apollinaire: ‘Calligrammes’. Composed a year after the ‘Trois Chansons de Federico García Lorca’, this intricately wrought collection of seven mélodies, which Poulenc saw as the culmination of an intensive phase in his activity in this genre, revisits some of ‘unheard voices’ and ‘unseen shadows’ enfolded in its predecessor. It may be viewed, in part, as an attempt to bring to fuller resolution the veiled but keenly-felt anguish invoked by these paradoxical properties.
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Tummaruk, Padet, Kakanang Buranaamnuay, Wanpen Adulyanubap, Jinda Singlor, and Mongkol Techakumphu. Development of techniques for freezing boar semen. Chulalongkorn University, 2006. https://doi.org/10.58837/chula.res.2006.91.

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The objective of the present study was to investigate the feasibility of boar semen cryopreservation in Thailand and to investigate factors that could affect the boar semen quality after cryopreservation. Fifteen purebred boars (5 Landrace, 5 Yorkshire and 5 Duroc) from 2 commercial herds in Nakorn-prathom province were used in the experiment. Three ejaculates from each boar were collected with over one-week interval using gloved-hand technique. After collection, the semen was diluted with isothermal Beltsville thawing solution (BTS) extender. Diluted semen was held at 15 °C for 2 h and centrifuged. The supernatant was discarded and the semen precipitant was re-suspended with lactose-egg yolk (LEY) extender. The diluted semen was cool down to 5°C within 90 min. Two parts of semen were mixed with one part of LEY extender with 9% glycerol and 1.5% Equex-STM®. Thereafter, the processed semen was loaded into 0.5 mL straws. The straws were placed in liquid nitrogen (LN2) vapor approximately 3 cm above the level of the LN2 for 20 min and then were plunged into LN2. Thawing was achieved by immersing the straws in water at 50 °C for 12 second. After thawing, the semen was diluted (1:4) with an extender consisting of 95% BTS and 5% LEY extender. The extended thawed semen was incubated in a 38 °C water-bath for 30 min before evaluating the semen quality after thawing. Sperm concentration, individual motility, sperm viability, percentage of normal apical ridge (NAR), sperm plasma membrane function (sHost) and sperm plasma membrane integrity (SYBR) were evaluated. The semen qualities before and after thawing were compared for each boar using paired t-test. Pearson’s correlation was used to evaluate the correlation among all sperm parameters that were measured. Data on individual motility, viability, NAR, sHost positive spermatozoa and SYBR after thawing were analyzed using the General Linear Model (GLM) procedure of the SAS. On average, the sperm concentration of pre-diluted fresh semen was 529.7x106 spz/mL and the sperm concentration of frozen thawed semen was 811x106 spz/mL. The individual motility, the sperm viability, the NAR, the sHost and the SYBR of boar spermatozoa after frozen-thawed were 28%, 36.2%, 26.4%, 18.5% and 30.9%, respectively. All of the sperms parameters measured significantly decreased after frozen and thawed i.e., individual motility decreased by 44.2%, sperm viability decreased by 37.9% and NAR deceased by 59.5%. The individual motility of frozen-thawed spermatozoa was significantly correlated with the sperm viability (P<0.001), the NAR (P<0.02), the sHOST (P<0.001) and the membrane integrity (SYBR) (P<0.001). The higher concentration of frozen-thawed semen resulted in the lower membrane integrity (r=-0.3, P=0.04). Breed of boars and the individual boar within the same breed significantly influenced most of the sperm parameters after being frozen-thawed. The sperm viability of frozen-thawed semen in Duroc and Landrace boars was significantly higher than Yorkshire boars (P<0.05). The membrane integrity of frozen-thawed semen in Landrace boar was significantly higher than Yorkshire boars (P<0.05). In conclusions, the semen cryopreservation of boar could be performed successfully in Thailand with an average concentration of spermatozoa in frozen thawed semen of 811x106 spz/mL, the individual motility of 28% and the sperm viability of 36%. Breed of boars and the individual boar within the same breed significantly influenced most of the sperm parameters after being frozen-thawed.
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Highlights from the Collection of the Art Museum of the Americas of the Organization of American States (OAS): Outstanding Works by Artists from the Spanish, English, French, and Dutch Speaking Caribbean. Inter-American Development Bank, October 2007. http://dx.doi.org/10.18235/0006408.

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The Art Museum of the Americas is a unique and singular asset of the Organization of American States. The museum, inaugurated in 1976, houses the most comprehensive twentieth-century art collection from Latin America and the Caribbean on public display in Washington, DC. The OAS collection, which stands for so many nationalities, traditions, and visual languages has come to embody the goals of integration and mutual understanding long pursued by our inter-American system. The IDB, through its Cultural Center, has been a long-time supporter of the Art Museum of the Americas, and that relationship is reflected in exhibitions like this
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Highlights from the Collection of the Art Museum of the Americas of the Organization of American States (OAS): Outstanding works by artists from the Spanish, English, French, and Dutch Speaking Caribb. Inter-American Development Bank, August 2007. http://dx.doi.org/10.18235/0008217.

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This paper presents a selection of 39 important works (paintings, sculptures, drawings, engravings and photographs) by recognized Caribbean artists from Barbados, Jamaica, The Bahamas, Trinidad and Tobago, Haiti, Dominican Republic, Puerto Rico, and Suriname, and early Cuban masters such as Amelia Peláez, Juan José Sicre and Mario Carreño, in the collection of the OAS Art Museum of the Americas, on loan to the IDB Cultural Center for this exhibition.
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