Дисертації з теми "Libraries, France: Paris: Bibliothèque Nationale"
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Thibault-Dubois, Véronique. "Le tonaire noté du manuscrit de Gaillac (Paris, Bibliothèque nationale de France, lat. 776)." Paris, EPHE, 2010. http://www.theses.fr/2010EPHE4044.
Повний текст джерелаMs. Latin 776 from the Bibliothèque nationale de France contains a gradual for the use of the Abbey of Gaillac, followed by a tonary copied in the last quaternion. Contemporary with the gradual (11th century), the tonary covers the first five tones with 1465 incipit in Aquitaine notation. It includes antiphons and responsories of the Office, chants for the Mass, invitatories, processional antiphons, six sequentiae without text, hymns, and miscellaneous chants. Many songs are written for the responsory verses and show evidence of improvisation. The sanctorale is rich with local feasts (Saturninus, Antoninus, Gerald, Salvi. . . ). The tonary has similarities with other Aquitanian tonaries but it differs in its ranking in the liturgical order and its magnitude. It carries an ancient content, probably enriched with additions made during earlier copies, as the irregularities in the classification show. It has not been copied from the gradual, although the repertory is similar. The patterns of the notation are different and the feast of St. Geraud stresses the influence of Aurillac, missing from the gradual. During the study, the poem of the theoretical prologue is edited and translated, as well as the last text, a variant of chapter VIII of the treaty of Aurelian of Réôm. The incipit are identified with an indication of the feast and the diffusion of the chants. The melodies of the formularies and verses are edited. The study is supplemented by the list of the feasts of the gradual and an alphabetical index of the chants of the tonary
Bermes, Emmanuelle. "Le numérique en bibliothèque : naissance d'un patrimoine : l'exemple de la Bibliothèque nationale de France (1997-2019)." Thesis, Paris, Ecole nationale des chartes, 2020. http://www.theses.fr/2020ENCP0001.
Повний текст джерелаSince the 1980s, physical and digital objects of increasing diversity have been described as "heritage". The idea of a digital heritage is thus institutionalized today. However, according to the experience of the BnF over the past twenty years, these new heritage objects, which range from video games to web archives, from digitized rare and ancient books to online media, are not yet considered legitimate.With a period of experimentation, until 2003, then a period of industrialization and professionalization, until 2008, the continuity between written heritage and digital heritage first helped to establish the place of digital documents and collections within the missions of the library. However, the digital heritage also bring profound changes, inherent in the nature of the web and the documentary objects it generates. Ubiquity, volatility, destructuring, massification, internationalization, transversality: these characteristics of the web have forced the BnF to adapt its work processes, its tools and its organization.The study of the process towards the creation of a new digital heritage involves observing institutional tools, as well as studying the stages of this process and the emotions it arouses. Thus we reveal two complementary aspects of this new digital heritage, questioning in depth the identity and missions of the BnF, in its relationship to society and the world. On the one hand, digital developments help the dissemination, mediation and enhancement of existing heritage; on the other hand, new digital heritage objects emerge. In the original vision of a "very large library, of an entirely new type", the mission of digitization was to reconcile heritage with the nation, using technology. Twenty years of experimentation and practice have apparently ended up reversing this logic, making digital a new heritage which the nation is committed to preserve
Bsir, Mkadmi Besma. "Nouvelles pratiques de lecture à l'ère du numérique : l'expérience de la Bibliothèque Nationale de France." Paris 8, 2005. http://www.theses.fr/2005PA082590.
Повний текст джерелаSarmant, Thierry. "La république des médailles : numismates et collections numismatiques à Paris du XVIIe au XIXe siècle." Paris 1, 1999. http://www.theses.fr/1999PA010580.
Повний текст джерелаLike the republic of letters, the republic of medals lived his golden age in XVIIth and XVIIIth centuries. Then, Paris was one of the most important centres of European numismatical activity, particularly during the reign of Louis XIV. This republic was neither a coherent structure, nor an organised network. The metallical nation never had any centre or head no collection, not even the king's one, could play this part. However, in the first quarter of the XVIIIth century, a body, the academie royale des inscriptions, was something like a senate of this republic. In fact, the republic of medals'cohesion came from a community of uses and conceptions. The same books of medals circulated all over europe the cabinets were ordinated according to the same principles. The alliance between collectors and scientists was a strong cement too the republic of medals was respublica curiosa as well as litteraria. Coin collection was always linked with books of medals the medal cabinet was a complement and an ornament for a library so, numismatic curiosity presents a great likeness with book collection : same alliance of aesthetic worry and of intellectual one, same value of empirical knowledge for research, same importance of the sense of touch, same attention to the notion of exemplary. The great steps of the history of numismatics are 1660, when the science of medals became independent, years 1720-1730, when numismatical curiosity faded away, years 1770, when the pellerin generation brought decisive transformations to method and a new point of view on coins, and, finally, the years 1830, when numismatics found the centres it yet conserves : big Parisian merchants, revue numismatique, soon société francaise de numismatique, cabinet des médailles. Long seen as an uninteresting period of numismatics' history, XVIIIth century was, in fact, an essential moment, and the true grand siecle of the republic of medals
Achutti, Luiz Eduardo Robinson. "Photo-ethnographie à la bibliothèque nationale de France : la photographie comme narration ethnographique. Une autre fáçon de se raconter." Paris 7, 2002. http://www.theses.fr/2002PA070018.
Повний текст джерелаThis dissertation is the result of a four years research aiming to propose "photo-ethnography" : the use of photography to build ethnographic visual narrations. The dissertation is composed of three parts. The first one reviews the historic approaches between photography and anthropology, in a precise way one sees quotations of anthropologists about photography as visual anthropology. A contemporary parrallel between ethnographic texts and photo-ethnography is made with the use of pictures and words form field work to books in order to give an account of questions of writing and restitution. The second part presents practical and methodological questions to practice photo-ethnography during fieldwork. It deals with the initial gaits, the question of teamwork, photography editing or questions of ethical order. Field works at the Bibliothèque nationale de France is then studied starting from the public space to get to the private space, more precisely the parts where people work which are presented as "backstage" and which are little known by the public of this huge library. .
Béquet, Gaëlle. "Innovation et patrimoine numérique dans trois bibliothèques nationales européennes (Bibliothèque nationale de France, British Library, Österreichische Nationalbibliothek)." Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030169.
Повний текст джерелаThe historical and sociological analysis of the setting up of digital libraries in three heritage institutions (Bibliothèque nationale de France, British Library, Österreichische Nationalbibliothek), from 1990 to 2011, shows how these organisations, which produce and preserve physical cultural heritage, have evolved to produce and preserve digital cultural heritage. The digital library has two aspects: it is a technological innovation and an organisation of its own. As a technological innovation, it is grounded on inventions such as digital photography, web servers, internet, optical character recognition, metadata…These inventions are combined by the action of reference groups (scholars, librarians, computer specialists, public administrations, sponsors, private companies). These groups are either marginal or included in a socio-technical network which creates the digital library. The latter is a technical artefact that evolves from a “suitcase-object” with great interpretive flexibility to a boundary object which satisfies the needs of reference groups taking part in the socio-technical network. A digital library is also an organisation, stemming from the physical library which creates specific departments in charge of controlling major uncertainty zones such as digital technologies and emerging online content providers. The latter compete with national libraries in the diffusion of cultural heritage. Controversies between actors are key moments when actors reveal their opinions concerning the technical artefact: translation is the means to enlist members of the socio-technical network to achieve the temporary closure of the artefact. The socio-technical network evolves with time to create new versions of the artefact
Toscano, Gennaro. "Les rois bibliophiles : enlumineurs à la cour d'Aragon à Naples (1442-1495) : les manuscrits de la Bibliothèque Nationale de Paris." Paris 4, 1993. http://www.theses.fr/1993PA040050.
Повний текст джерелаThe royal manuscripts of the aragonese kingdom in Naples have not been studied from an artistic point of view so far. The bibliotheque nationale gathers some 556 volumes the neapolitan royal library, as well as almost 200 incunabola in the reserve des imprimes. From this corpus of 750 works of neapolitan origin we have selected 71 - the mist significant historically and artistically speaking - in order to draw up a catalogue. After a first classification on the basis of their geographic origin, these manuscripts have been analyzed individually according to specific criteria. As a result of this survey, a global approach to neapolitan illuminated manuscripts is here proposed, which stresses particularly - and in a new way - the relationship between the french, flemish, spanish and italian xvth century painting and illuminating of manuscripts. Not only the analysis of signed of documented works has lead to a better understanding of each artist's style, but also to the restitution of manuscripts considered of unknown author or wrongly attributed until now
Trost, Catherine. "Recherches sur les lampes chrétiennes en terre cuite : contribution au catalogue des lampes antiques de la Bibliothèque nationale de France." Paris 4, 1994. http://www.theses.fr/1994PA040340.
Повний текст джерелаThis work is a contribution to the third volume of the catalogue of antique lamps in the National library of France. It is composed of two hundred terracotta lamps, mostly belonging to the early Christian era (4th to 7th century a. D. ), and a few later copies as far as the medieval era - among them and Arabian lamp-. The early Christian lamps of African red slip ware (Hayes type 1 and Hayes type 2), from Tunisia, amount to the most important part with 148 items, plus 2 plaster moulds. The rest of the collection is composed of various lamps: other lamps from North Africa, called "tripolitanian" and "vandal", syr-palestinian lamps, Sicilian lamps etc. . . As well as 3 modern lamps -maybe forged-. Each section of the catalogue is preceded by a typological and chronological presentation. A new index of the decorative patterns in the irms of Hayes type 2 lamps has also been added. It has been thought of as an open composition allowing future developments. The synthesis is about the early Christian lamps from north Africa. It tries to picture the present state of knowledge about the history of research, the economical and industrial context, the datation, the distribution, the workshops, the manufacture, the decoration
Sequera, Héctor J. "Selected Lute Music from Paris, Rés. Vmd. Ms. 27 from the Bibliothèque Nationale: Reconstruction, Edition, and Commentary." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4652/.
Повний текст джерелаBeldon, Valeria. "Edizione delle canzoni religiose anonime dei canzonieri Francesi C (Bern, Burgerbibliothek, 389) e V (Paris, Bibliothèque nationale de France, f. Fr. 24406), con trascrizione delle melodie." Paris, EPHE, 2005. http://www.theses.fr/2005EPHE4014.
Повний текст джерелаThe present study consists in a critical edition of thirty-six anonymous religious French poems mainly transmitted by French chansonniers V (Paris, Bibliothèque nationale de france, fr. 24406) et C (Bern, Burgerbibliothek 389). Several elements made us think that a same collection of religious poems has been the source for V and C, but the two scribes copied from different branches of tradition. E. Schwan already recognised the common source to both manuscripts and indicated it with Vg. The songs of this edition follow ms. V's presentation, which transmitted the collection in the original order. Ms V is also taken as main source for the edition, as it is more correct and its scripta, if compared to C's one contains just few dialectical traces. The melodies's study of the collection confirmed what we had noticed during the texts'analysis: the religious poems are often composed on melodies and metrical schemes which existed and belonged to well known trouvères or troubadours, as Gace Brulé, Thibaut de Champagne, Gautier d'Espinal, Guiot de Provins, Robert de Castel, Jacques de Cambrai, Moniot d'Arras, Jacques le Vinier, Rigaut de Berbezilh, Folquet de Marseille
Keyser, Dorothy. "Oracy, Literacy and the Music of Adam De La Halle: The Evidence of the Manuscript Paris, BibliothèQue Nationale f.fr. 25566." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc332454/.
Повний текст джерелаBilly, Anne. "L'illustration des antiphonaires au Moyen âge : aspects historiques, iconographiques et théologiques : "Le chant des images" : l'antiphonaire de Paris, Bibliothèque nationale de France, latin 12044." Poitiers, 2008. http://www.theses.fr/2008POIT5013.
Повний текст джерелаWe worked on pictures which adorn antiphonaires. This type of manuscript is studied for its texts to the detriment of pictures. Iconography is inspired of text which accompanies picture, to come from other manuscripts different from antiphonaires or not to have report with the text. We analysed the style of picture to know different influence, as well as code of colours. The studies period stretches from VIIth till XIV centuries. We studied the common points or difference which there can be between the antiphonaires different and try to understand if the concepteur of picture wanted to get a particular message, knowing that normally antiphonaires is devoid of pictures
Beldon, Valeria <1975>. "Edizione delle canzoni religiose anonime dei canzonieri francesi C (Bern, Burgerbibliothek, 389) e V (Paris, Bibliothèque nationale de France, F. Fr. 24406), con trascrizione delle melodie." Doctoral thesis, Università Ca' Foscari Venezia, 2005. http://hdl.handle.net/10579/564.
Повний текст джерелаLétourneau, René. "LE STATUT DE LA GRAMMAIRE ET LA PLACE DE DONAT DANS LES COMMUNIA GRAMATICE (Anonyme, XIIIe siècle, ms. Paris, Bibliothèque nationale de France, fonds latin 16617, fol. 183rb-205vb)." Thesis, Université Laval, 2010. http://www.theses.ulaval.ca/2010/26835/26835.pdf.
Повний текст джерелаTuchscherer, Jean-Michel 1942. "Sponsus - SponsaChristus - Ecclesia : the illustrations of the Song of Songs in the Bible moralisée de Saint-Louis, Toledo, Spain, Cathedral Treasury, Ms. 1 and Paris, Bibliothèque Nationale, Ms. lat. 11560." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=40269.
Повний текст джерелаThe manuscript of the Bible moralisee to which this study is partly dedicated, is located in the Treasury of the Toledo cathedral chapter in Spain. This study deals also with the duplicate copy which was realized soon afterwards. The interpretation and illustrations of the verses vary in number according to the books of the Bible. Though being one of the smallest biblical books, the Song of Solomon is given outstanding consideration, more than any other book in the Bible. The central theme--the espousal of the Bride and the Bridegroom, Christ and Ecclesia being its allegory--enjoyed a considerable success in medieval theology. It corresponded to the courtly love atmosphere of its time. Abundant commentary literature and the development of mariology made this book even more popular. About a quarter of the commentary illustrations are dedicated to the theme Christus-Ecclesia. Ecclesia, always crowned, holds the chalice which confirms her sacramental significance. In no other known iconographical medieval programme has Ecclesia such a position.
The question raised by the problematic around this Bible is the eventual intention being at the origin of this order which, without any doubt, emanates from French royalty. Has it been produced to enhance the prestige of royalty? Is it a pedagogical work intended for the education of the royal children? Was it meant to be a royal political gift? The Ecclesia theme in the Bible is the exaltation of, or an hommage to the Church, spiritual or temporal, by the French royalty of the thirteenth century.
Bodenstein, Felicity. "L’histoire du Cabinet des médailles et antiques de la Bibliothèque nationale (1819-1924) : un Cabinet pour l’érudition à l’âge des musées." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040071.
Повний текст джерелаThe Cabinet des médailles et antiques in the French National Library holds a particular place in the vast constellation of Parisian museums. Home to the so-called « bijoux savants » that founded western collecting culture since the Renaissance, it is at once a universal coin cabinet, one of the worlds foremost collections of cut stones and gems, but also a miscellaneous collection of antiquities representing all periods and places. As described in 1930 by one of its curators, it represents a « parangon of amateur cabinets from another time ». This thesis does not directly deal with its prestigious origins but tells one chapter of its long history, looking at how, from the period of the Restoration onwards (beginning with the direction of Désiré Raoul-Rochette in 1819) until the passing of Ernest Babelon in 1924, this cabinet of antiquarian culture and collections adapted and developed to the modern Republican museum age. The life of the department is first considered as a means of understanding the role of material culture and the place of the museum inside France’s national library in the nineteenth century. It then goes on to consider the development of the collections themselves and their scientific and museological exploitation in light of the rapidly expanding practice of archaeology and highly specialised auxiliary sciences of history
Cazaux, Christelle. "Le Graduel-responsorial-antiphonaire palimpseste de Turin : Paris, BnF, ms. Grec 2631 (Xe-XIe s.) : édition et commentaire." Paris, EPHE, 2006. http://www.theses.fr/2006EPHE4107.
Повний текст джерелаMs. Greek 2631 of the Bibliothèque nationale de France (Paris) is a Lexicon Etymologicum copied in South Italy in the 13th century which contains 48 palimpsest leaves from a notated graduale, responsoriale and antiphonale. Written for a church of the area of Turin ca. 1000, it is the earlierst example of the so-called Novalesa neumatic notation and the first liturgical source from the North of Italy including extensive musical notation. The palimpsest of Turin is an unusual document. Antiphons and responsories of the office are copied in separate codicological items and the arrangment of the series is quite unique. The sanctorale of the graduale contains only a few feasts and is completed by common masses, whereas most of the saints' masses are gathered in a table of incipits. Several votive masses and processional chants bring a lot of new compositions or rare ones. The repertory and the musical notation reveal relations not only with the Italian peninsula, but also with the North of France, the Rhône Valley, Normandy, Aquitaine and Spain. It is representative of the variety of traditions that can be found in North Italy, a region which was not only the meeting point of several influences coming from the places cited above, but also influenced some of them. The edition of the Palimpsest of Turin is provided with indexes of the chants and several tables comparing its content with various sources from the 8th to the 15th century
Cennac, Caroline. "La tradition des vies de saints en langue d'oc : étude du manuscrit, Paris, B.N. FR 24945 : édition partielle, commentaire linguistique et littéraire." Paris 4, 1997. http://www.theses.fr/1997PA040131.
Повний текст джерелаThe present paper offers the study of part of a manuscript in occitan language, the ms. Fr 24 945, unicum dated from 1468, written in Candillargues in the area of Montpellier, and kept at the Bibliotheque nationale of Paris. This manuscript, which has never been entirely studied, would constitute, from specialists' advice, a translation of the Legenda aurea by Jacques de Voragine. Our study, based on a corpus of twenty lives of saints, consists in a codicological and linguistic investigation and a literary commentary. The codicological and linguistic work of the corpus led us to the following conclusions. The document is clearly divided in two parts which can be distinguished from one to another by two different hand-writings and inks, besides the linguistic particularities of each part. This fact shows the intervention of two scribes of different origins. From the linguistic point of view, three strata of languages come out which are the stratum of the area of the scripta, Montpellier (eastern Languedoc), a Provençal and especially Mediterranean trace that characterizes the first part and the first copyist, and a western languedocian influence which is the mark of the second section and second scribe. Those three strata of languages interfere with a common linguistic background quite neuter and homogeneous. But, we can also find out the trace of minor strata which attest the influence of others linguistic areas. Therefore, those various points set the problem of the source of our manuscript that cannot yet be asserted for certain: one or several models? A Catalan source or a Spanish one above all? A Latin source? The literary commentary relies on the following observation: the order of the saints' lives chosen in our compilation neither conforms with the one of the Legenda aurea nor with the one of the liturgical year, besides the author excluded some of the saints included in the Legenda aurea and introduced an apocryphal gospel foreign to the Legenda aurea. Therefore, our research consists in trying to give a potential answer to the enigma of an order that cannot be casual as the compiler is a vicar who cannot ignore the canons in religious literature. By the way, we think to have detected a mastering idea that governs this unusual order: a constant call to reconciliation between men and god that is supported by an apology of the church and the papacy
Ragnard, Isabelle. "Etude et édition critique de quatre chansonniers de la première moitié du XVe siècle : manuscrits Paris, Bibliothèque nationale de France, Nouvelles acquisitions françaises 4379 (deuxième et troisième sections), Nouv. acq. fr. 6771 (troisième section) et Nouv. acq. fr. 4917." Tours, 2000. http://www.theses.fr/2000TOUR2026.
Повний текст джерелаVassaf, Hamid-Reza. "Les sources préislamiques dans l’iconographie des amulettes et talismans iraniens chiites." Thesis, Lyon 2, 2013. http://www.theses.fr/2013LYO20104.
Повний текст джерелаIf we consider the important role of magic in Islam as well as in Muslim countries and possibly considering its important role in the making of the symbolic universe of Islamic art, the artistic study of magical items can be a new way for historians of Islamic art.The studies and comments developed in the framework of this thesis are two-fold: first, to discover the thematic and visual sources of the symbolic universe of Iranian Shiite amulets and talismans. Or in other words, to find a clear and precise answer to the question whether the composing elements of the iconography of Iranian Shiite amulets and talismans are strictly based on Islamic sources and primitive traditions of Arabic Muslim. Otherwise, can we consider other sources for these elements like the myths and the artistic traditions of oldest Mesopotamia and Persia?On the second hand, our goal is to attract the attention of historians of Islamic art on the themes of symbols - and their regional past - shown on Iranian Shiite magic items specifically and more generally on Islamic art.This work is based on a stylistic and artistic study as well as a thematic and comparative study between the textual and visual elements on the 166 Iranian Shiites amulets and talismans - collected from three collections: « Les cachets, bulles et talismans islamiques » from « Département des Monnaies, médailles et antiques de la Bibliothèque Nationale de Paris », from « Collection des objets » from « Musée du Quai Branly » in Paris et from « Collection des objets talismaniques iraniens (ou des objets magiques iraniens) » from « Musée civilisations Europe Méditerranée de Marseille (MuCEM) » – with those in the pre-Islamic art of Mesopotamia and Persia.This work shows that both textual and pictorial components of these objects have a thematic relationship based on a cosmic and mythical pre-Islamic perspective. In addition, our analysis shows that the birth of the decorative and figurative writing could be the result of an ideological and cultural conflict between the Arabic Muslim conquerors and the intellectuals of conquered countries. Our study also shows that the symbolic universe of Iranian Shiites amulets and talismans was formed under the influence of many disagreements between primitive Islam imported by Arabic Muslims and new Muslims of conquered countries. Our analysis is only based on the three collections of French museums and it is essential to enrich it with other items from other museums around the world
Ransom, Carol Lynn. "Cultivating the orchard : a Franciscan program of devotion and penance in the Verger de soulas (Paris, Bibliothèque nationale de France, fr. 9220)." 2001. http://hdl.handle.net/2152/10806.
Повний текст джерелаJolin, Audray. "Étude d'un lapidaire alphabétique du XVe siècle en prose, d'après le manuscrit Paris, Bibliothèque nationale de France, fonds français, 2007." Thèse, 2019. http://hdl.handle.net/1866/23736.
Повний текст джерелаRegarding the heterogeneity and extravagant nature of their content, the lapidaries have too often been put aside from studies concerning medieval literature, and, still to this day, only a few of them have been studied by scholars. However, the very high number of known manuscripts of such texts does tell us a lot about the popularity and the role played by precious gems within medieval society and litterature. The prose lapidary copied in ms Paris, BnF, fonds français, 2007, a prosaic lapidary dated from the XVth century, has yet only been mentioned once, in a study by Barbara Geromel, who was mostly interested by another manuscript – albeit incomplete – of the same text : ms Turin, Biblioteca Reale, Varia 110. The content remaining in this manuscript corresponds precisely to the one found within the Paris manuscript. This manuscript written in prose represents one single step in a long and rich history (the tradition of describing precious stones dating back to the Antiquity). Nervertheless, it also differs from this tradition by its complex inner organisation of the subject, since it puts to use to this effect an imperfect and incomplete alphabetical paradigm as a mean of classification, an unpopular paradigm at the time, as it embodied elements difficult to correlate with the theological order. This lapidary, a material witness of an even larger intelectual context – the world of mediaeval encyclopedism –, participates to the compilation of knowledge from older times, and calls for deeper studies of its general content, sources (themselves coming from varied manuscript traditions) and usage of an alphabetical classification.
St-Germain, Marielle. "Le Web de données et le Web sémantique à Bibliothèque et Archives nationales du Québec : constats et recommandations fondés sur l'initiative de la Bibliothèque nationale de France." Thèse, 2016. http://hdl.handle.net/1866/18414.
Повний текст джерелаThis dissertation discusses the concepts and implementation of Semantic Web and Linked Data within libraries. Analysis and definition of technologies characterizing these concepts are first presented with the objective to clarify and ensure a good understanding of the various issues arising for actors in the field. Then, the elements demonstrating the relevance and challenges for information professionals are described. The objective is to analyze the implementation process of a Linked Data project with the Bibliothèque nationale de France to propose a possible transposition to the context of Bibliothèque et Archives nationales du Québec, for an application within the latter. A list of thirteen steps for the implementation of a library Linked Data project and the proposal for applying a software development process on these practices are presented. Following this analysis, recommendations regarding these various stages of implementation are proposed.