Дисертації з теми "Press – France – History"
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Gabillet, Fabien. "La vraie France est au Canada!, les échos de la séparation de l'Église et de l'État de 1905 dans la presse canadienne-française." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ57863.pdf.
Повний текст джерелаColson, Gerald David. "The popularisation of science in the periodical press in France during the Second Empire (c.1850-1870)." Thesis, University of Kent, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.311221.
Повний текст джерелаEscarpit, David. "L'écrit politique en occitan en Gironde (1860-1914)." Thesis, Bordeaux 3, 2016. http://www.theses.fr/2016BOR30003/document.
Повний текст джерелаOccitan and political paper in Gironde ( 1860-1914 ) The project of thesis consists of an analysis of the non-literary practices of the Occitan in Gironde between 1860 and 1914, essentially in and around the press. The project is served by the existence of an impressive already skinned, referenced and listed corpus, articles, bills, songs and poems in langue d'oc, appeared during this period within diverse Girondist organs of press. We are talking about an Occitan of complicity used for political purposes: it is a question of touching the masses of voters stemming from rural circles, which do not still master, for the majority, French. This study allowed to highlight an almost unexplored piece of the publishing of Bordeaux world of the XIXth century : the political paper in Occitan. Or under the shape of printed pamphlets, without using the new vector of distribution of the information and the opinion that is the press, this paper gave rise to real large-scale productions. Becoming integrated into previous Occitan linguistic practices peculiar to Bordeaux, it knew how to be renewed until join the margins of the Occitan rebirth movement, besides quasi-non-existent in the country at that time. Revealing the interest for the political circles to use the minority idiom to the urban area of Bordeaux and around, this paper allows us of touch of the finger a still badly known sociolinguistic reality, in which one conscientizacion of the masses in the republican project (or to oppose it) needs the occitan language
Pinson, Guillaume 1973. "Fiction du monde : analyse littéraire et médiatique de la mondanité, 1885-1914." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102151.
Повний текст джерелаA first part explores the organisation of the topics and the main genre of the mundane society in the press, applying the social discourse theory. The analysis is based on the perusal of a set of representative daily newspapers (Le Gaulois, Le Figaro) and of weekly and monthly publications (Le Grand monde, La Vie parisienne, Femina notably, as well as around thirty other titles). It shows that the mundane society in the newspaper is constrained by a poetics stemming from the characteristics of press writing: collective writing, periodicity of the publication, text length limitation and reference to reality. Some texts are tempted by fiction, even though they keep a reality-based referential, whereas other texts that are openly fictitious, fit the mundane fiction into the newspaper.
The second part is based on the general conclusion of the first part: the mundane society in the newspaper is a represented society, made of for a distant and anonymous public. With the advent of the medias in the 19th century, the mundane society has entered into the era of mediations and "industrial writing". Some writers, from Bourget to Proust, take these upheavals into account and present the mundane society as a metaphor of the mass media society. This is done following three main axes: the temptation of withdrawal of the fiction into a closed world (psychological and mundane movement impulsed by Goncourt with Cherie, prolonged by Bourget and Hervieux notably); the games of exchange between the novel and the newspaper (Maupassant, Toulet, Legrand, amongst others); and finally, the isolation of the mundane world and the aesthetic work on mediations (Rolland, Colette, Mirbeau, Lorrain et Gide notably). All these writings address the question of sociability at the era of the triumph of mediations: what room is left for the mundane society, for direct encounter, for exchange, in a world of mediation and mass media coverage? for immediate connections in a society of mediated ties? The epilogue proposes a journalistic reading of A la recherche du temps perdu, synthesis-work which inaugurates a modern and sociological perception: it is in the world of the imagined mundane society, distant and represented in the mass media, that the narrator draws the resources for his observation of the world.
Beard, Morgan. "La Satire Politique et la Liberte de la Presse au 19e Siecle (Political Satire and Freedom of the Press in 19th Century France)." Ohio University Honors Tutorial College / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1556290778710013.
Повний текст джерелаSadoun, Clara. "Le roman de La Vie parisienne, 1863-1970: presse, genre, littérature et mondanité, 1863-1914." Doctoral thesis, Universite Libre de Bruxelles, 2010. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209915.
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Doctorat en Langues et lettres
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Menrisky, Alexander. "Le voile du journalisme: Metaphorical and analytical inquiry into press coverage of a national French debate." Ohio University Honors Tutorial College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1338312431.
Повний текст джерелаChampomier, Emmanuelle. "Contribution à l’histoire de la presse cinématographique française. Étude comparée de la genèse et de l’évolution de douze revues de cinéma entre 1908 et 1940." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA029.
Повний текст джерелаA major source for history of cinema, the early French film press however still remains a vast, unexplored continent. With a body of research composed of twelve film magazines spanning over the 1908-1940 period, this thesis aims to study the technical, economical and social factors involved in the birth and evolution of the French film press over three decades. Contemplated as a press organization, in its collective dimension, each film magazine is subject to a methodical study of its identity, specifications and various mutations – administrative, technical, economical, formal and editorial – incurred. The main ambition of this thesis is to propose a history of press as well as of journalists. The study thus aims to define the profession of journalist and film critic, as it is perceived in this period by the film corporation and the journalists and critics themselves. This fonction also defines itself through the creation of professional associations, the history and adventures of which this research hopes it has illuminated. The pursued purpose is also to contribute in a better knowledge of the men, journalists and critics, remaining mainly unrecognized to this day despite being major figures of their time, who participated in the creation of the specialized press and the formulation of a critical thought about cinema, in the 1900s-1930s
Cerdeira, Virginie. "Le Mercure François : écrire et publier l’histoire du temps présent (1611-1648)." Thesis, Aix-Marseille, 2016. http://www.theses.fr/2016AIXM3082.
Повний текст джерелаThis thesis is to study the Mercure Francois as a real history object. Often considered as an archaic form of the periodic political news media, this collection of twenty-five volumes printed and published periodically in Paris between 1611 and 1648, pursued in fact the goal of writing and publishing the present history of the kingdom of France and Christian Europe between 1605 and 1644. The joint analysis of the entire collection to the cases studied and chosen for the political issues at that time is the approach taken here. The crossing of internal and external sources to the Mercure François used to analyze the definition of the periodical by the actors, and, therefore, to clarify their definition of history. The writing of it was seen as a political and civic engagement. The comparison of the narration and the publication of important political events in various media has clarified the crucial role of Richer brothers, Mercure François’ printers and booksellers in the foundation engaged of the collection. It has also allowed to note changes in the Mercure François according to the political context and to the growing influence of the reason of State’s theories at the time
Levin, Suzanne Michelle. "Shades of Cato and Brutus: Classical References in the Révolutions de Paris and the Rise of Republicanism, June-October 1791." Oberlin College Honors Theses / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1338322217.
Повний текст джерелаPautet, Arnaud. "La criminalité rurale en Provence orientale : l'affaire des "bandits fantômes" de Pégomas (1906-1914)." Thesis, Aix-Marseille, 2016. http://www.theses.fr/2016AIXM3043.
Повний текст джерелаBetween 1906 and 1914, a wave of violence swept over Pégomas, a small village in Provence. Higywaymen sewed terror, setting barns on fire, stoning houses, shooting on the village dwellers, and desecrating churches. These occurrences took place at night, which made the hunting down of the bandits difficult. The investigators’ task was further complicated by the woody hills, where the bandits could retreat, and by the fact that the village consisted of a series of scattered hamlets. The newspapers soon nicknamed those elusive bandits “the ghosts.” The authorities spared no expense: by 1912, one law enforcement officer for fifteen village dwellers had been sent to the place. Interpretations were rife: some viewed the events as a sign that the struggle between the clerical party and the free-thinkers had resurfaced. Others saw in them a rebellion against the local authorities. The true origin, however, is to be found in the horticultural specialization system implemented in Pégomas. As of 1906, the authorities began fretting over the publicity generated by the intensive media coverage of the events. They worried over the image it gave to rich foreign winter holiday-makers and blamed the events on the Piedmontese migrants. The bandits were defying the authorities as the famed “Calabrian” already had. Beyond that, these so-called ghosts challenge the unifier myth of the Republic having brought peace to the countryside. The events thus constitute an ideal vantage point from which to analyse a time of change: the secularization and opening up of rural communities, the modernization of the institutions in charge of social regulation and of the maintenance of law and order
Gahéry, Rodolphe. "Les premières actualités filmées (1895-1914) : des Cinématographes au Cinéma ?" Thesis, Paris 10, 2020. http://faraway.parisnanterre.fr/login?URL=http://bdr.parisnanterre.fr/theses/intranet/2020/2020PA100108/2020PA100108.pdf.
Повний текст джерелаThrough a history of the beginnings of the filmed press in France from 1895 to 1914, this thesis aims primarily to shed new light on the process of institutionalization of cinematographic practices at work at the same time. Since the 1980s, research devoted to early cinema has been dominated by an approach that places the rise of the narrative function of films at the heart of these evolutions (André Gaudreault, Tom Gunning, etc.). Without denying these works, it is proposed to complete them, by considering the development of newsreels as one of the key factors—but so far neglected—of the beginnings of cinema, especially in the elaboration of its relation to reality (distinction between fiction and non-fiction) and its inscription in history. After a definitional and intermedial study of the origins of filmed news, two parts follow one after the other, around the concept of “imagery”, which in this case refers to everything that goes into the constitution of defined sets of images. These two central parts attempt to analyse the deployment of a specific production within firms, before focusing on the films themselves, in particular reconstructed news and filmed newspapers. From imagery to images, a fourth and last part, more theoretical, considers newsreels as representations, in their forms and discourses, before studying their place and role in the process of the institutionalization of cinema
Marcil, Jeffrey. ""Les nôtres" : Franco-Américains, Canadiens français hors-Québec et Acadiens dans la grande presse montréalaise de langue française, 1905-1906." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape17/PQDD_0005/MQ36718.pdf.
Повний текст джерелаAllouache, Ferroudja. "Réception et fabrication du texte littéraire "francophone" dans la presse française : du prix Goncourt attribué à René Maran (1921) aux lendemains des Soleils des indépendances d'Ahmadou Kourouma (1970)." Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080050.
Повний текст джерелаThe objective of this thesis is to understand the manufacturing of the “Francophone” literary text, from the perspective of its reception in the French press (magazines and newspapers), restoring the archeology of this categorization of the works written by French authors born outside France, particularly in the colonies.Which is the intellectual, ideological, aesthetic posture observed towards those writers? Why are their writings never connected to the memory of the national literature? How does the literary critic read the works of authors from French colonies? What is his role in the development of the contemporary category of "francophone literature"?The corpus chosen begins in 1921, when R. Maran received the Prix Goncourt for Batouala and ends in the aftermath of the publication of The Suns of Independence by A. Kourouma in 1970.The critical review in the press provides elements of interpretation enabling the identification of the reasons why this literary production, long remained unseen, never related to literary history, is confined to anthropology and has mostly received the attention because of its documentary, revendicative dimension.The analysis of the mechanisms used to classify, sort, in order to build borders, margins between what is non-literary vs literary, shows the manufacturing process of the concept of "francophone literature" after the independence. The manufacturing of this category is involved in the development and perception of a separate, broken world at the opposite of that, the porous, hybrid, creolized, promoted by E. Glissant
Cassam-Chenaï, Arnaud. "Représentations et réception des films sur la Seconde Guerre mondiale en France à la Libération (1944-1950) : la concurrence des victimes." Thesis, Bordeaux 3, 2019. http://www.theses.fr/2019BOR30023.
Повний текст джерелаIn the immediate aftermath of the French liberation, theaters across the country began to project movies centered around the recent conflict. Between 1944 and 1950, World War II was the central theme of more than 302 films. However, these films came from different countries; they were not produced at the exact same time; they did not depict the conflict through the same angle; and more importantly, they did not cover the same class of war victims. Wide differences exist between a French chronicle of the Occupation and a U.S. war movie, a depiction of the homecoming of Italian prisoners and the story of soviet resistance or a narration of British citizens’ everyday life during the war. At the time, the response of the French audience and critics to these diverse movie releases varied greatly too. By studying these movies and their reception at the time of their releases, the present study informs our understanding of the emergence of the French mythology surrounding this major conflict. In three chapters, I analyze the cinematographic depictions of various groups of war victims in movies of this era, as well as the audience and critics’ response at the time. In the first chapter, I describe the theoretical underpinnings of the cinema history, as well as the narration of World War II as presented by these movies, using statistics specifically collected for this study. The two following chapters offer a series of representative case studies. I first focus on different groups of victims actively involved in the conflict: militaries on and off the front-lines, members of the resistance, and spies and assimilated individuals. I then study the non-fighting victims: civilians under the occupation, civilians living in the free zone, homecoming prisoners, members of the Jewish community and other victims of antisemitism, and finally, the children
Atkins, Michael. "Reflections of Revolution: Le Figaro, Le Monde, and Public Opinion in France during the Algerian Conflict (1954-1962)." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3360/.
Повний текст джерелаCousin, Guillaume. "La Revue de Paris (1829 -1834) : un "panthéon où sont admis tous les cultes"." Thesis, Normandie, 2018. http://www.theses.fr/2018NORMR104.
Повний текст джерелаThis dissertation proposes the first study of the Revue de Paris since its creation in April 1829 until its sale in May 1834 and aims to define the identity of this literary periodical.The first part of this thesis attempts to replace "The Revue de Paris in its time". First of all, in an approach that belongs to the field of sociology of literature, the author recreates the social fabric constituted by the men who lead the Journal, by those who allow it to exist financially, and finally by those who publish there. This first sociological approach shows the deep diversity of the collaborators: from the beginning, the Revue de Paris is affirmed as a "pantheon where are admitted all the cults". This metaphor, which gives its subtitle to this thesis, is taken from the introductory text that announces the creation of the Album, in November 1829 and gives an indication of the eclecticism that governs the choice of authors whose articles are published. The reading of the Review from a political angle, which constitutes the second chapter of this dissertation, reveals the liberalism of the Review. The Review participates in its own way to the fall of Charles X. The Revue de Paris is located in the center-right. Initially favorable to the new regime, the Review is becoming increasingly critical of Orleanism, and the choice of Pichot to abandon the "Political Review" only confirms the growing distance between the Revue de Paris and the July polity. Finally, this first approach to the identity of the Review analyzes its place in the field of the literary press between 1829 and 1834. At the time of its creation, the Review is considered by its creator as the French version of British Reviews and Magazines. Between 1829 and 1834, and contrary to what affirms the long critical tradition that makes the Revue des deux mondes the main literary review of the early 1830s, the Revue de Paris is the true model of the time. The combined approaches of literary sociology, politics and the history of the press lead the author to give a first definition of the Revue de Paris: it is eclectic, mundane, liberal and is at the top of the "pyramid" of the literary press. During its five years of existence, it was the largest French literary periodical. It is then, after having replaced the Review in its time, to question the very heart of the Review, that is to say the articles it publishes.Making the choice to treat literary creation first, the author analyzes texts from the generic point of view. The literary creation of the Revue deals with the great themes of the literature of 1830, and in this sense the Review is the mirror of its time. Nevertheless, if there is not, strictly speaking, a "Revue de Paris literature", the Review must be considered as a crucible of literary genres. Concerning the short story, it find in the Review of the achievements whose variety rests essentially on the hybridity. Beyond its simple entertaining function, the short story is a success mainly based on its plasticity, which allows it to be both exotic and historical, exotic and fanciful, historical and frantic ... Because it offers authors a great creative freedom, the Revue defines itself as a pantheon where the imagination is concretized in plural narrative forms. On the contrary, dramatic production is dominated by the genre of the proverb. As for poetry, it appears as the weakest literary part. This set is dominated by major and minor authors of Romanticism, so much so that one can consider the Revue de Paris as a romantic review. Nevertheless, the critical part makes it necessary to qualify this analysis: the literary criticism of the Revue de Paris reveals a sometimes violent critique of romanticism. The moral condemnation of literature is becoming increasingly insistent over the months, THE ultimate romantic review proves to be the "pantheon where are admitted all the cults", whether romantic or anti-romantic. In fact, the Review is the mirror of its time
Syreishchikova, Anastasiia. "Les voyages d’Hector Berlioz en Russie : histoire d’un dialogue musical franco-russe (1833-1869)." Thesis, Paris Sciences et Lettres (ComUE), 2017. http://www.theses.fr/2017PSLEP040.
Повний текст джерелаFrench composer Hector Berlioz (1803-1869) organized two series of concerts in Russia (in 1847 and 1867-1868, in both Moscow and St. Petersburg). The musician himself considered these tours as the greatest triumphs of his career. This image of a massively positive reception of Berlioz in Russia – based primarily on his own accounts – has been little studied due to the inaccessibility of Russian sources. The goal of the present thesis is therefore to reconstruct the history of the relationship between Berlioz and Russia during the composer's lifetime, in order to better understand the reasons for his success. Drawing on unpublished documents from the Russian archives – press, posters, administrative files, correspondence (including three new letters from Berlioz) – we present a more nuanced account of the relationship between Berlioz and Russia. This theme is approached from three perspectives: 1. The critical reception of Berlioz in the Russian press (about 360 articles, published between 1833 and 1869) and the role of the press in the formation of Berlioz's image; 2. The performance of Berlioz's works in Russia, both during his visits and in his absence (with new details about the organization of his concert tours); 3. Berlioz's contacts with several Russian musicians, including M. Glinka, A. Verstovskij, V. Kologrivov, A. Lvov and M. Balakirev; his dedication of the Symphonie fantastique to tsar Nicholas I; his arrangements of two works by D. Bortnanskij. This study helps to better understand artistic relations between France and Russia in the 19th century, but also Berlioz's importance for Russian culture and music
Wirtz-Habermeyer, Dominique E. "Histoire des "Dernières nouvelles d'Alsace" /." Strasbourg : Ed. de la Nuée-Bleue, 1987. http://catalogue.bnf.fr/ark:/12148/cb40054502j.
Повний текст джерелаOgassawara, Juliana Sayuri. "Intelectuais no Le Monde Diplomatique: relações entre França e Argentina (1999-2011)." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-18012016-114936/.
Повний текст джерелаThis study proposes an analysis of the relationship between the editions of the journal Le Monde Diplomatique published in Latin American and France. Founded in May 1954, in Paris, by Hubert Beuve-Méry, also founder of the daily Le Monde, Le Monde Diplomatique had its pages and ideas spread across several countries in February 2013, the magazine had 47 international editions (39 printed and 8 only digital). Throughout time, primarily with the passages of the French journalist Claude Julien (between 1973 and 1990) and the Spanish sociologist Ignacio Ramonet (between 1990 and 2008) as directors of this magazine focused on politics and international affairs, Le Monde Diplomatique had its style marked by politicized editorial guidelines, professedly anti-imperialist and anti-neoliberal. This thesis aims to analyze the version published in Buenos Aires, considered the leading Latin American edition, founded by the initiative of the Argentine journalist Carlos Gabetta, director of Le Monde Diplomatique Edición Cono Sur between July 1999 and January 2011. Therefore, this study aims to analyze the continuities and ruptures of the editorial policies and guidelines inherited from the European headquarter. At the same time, this thesis intends to highlight the possible impacts of Latin American reality on the French magazines perspective about the future of the left in contemporary politics. Thus focusing on the circulation of ideas between Argentina and France, this study is situated in the history of intellectuals, anchored in political history and history of present time.
Coudray, Pierre Louis. "Mourir à la guerre, survivre à la paix : les militaires irlandais au service de la France au XVIIIe siècle, une reconstruction historique." Thesis, Lille 3, 2018. http://www.theses.fr/2018LIL3H010/document.
Повний текст джерелаThis PhD is a chronological study of the military presence of Irishmen in Franceunder the Ancien Regime linked to an analysis of the myth surrounding the Irish Brigade in the18th century. Based on primary sources, some of which have been hitherto unpublished, the firstfour chapters propose an historical framework of the Irish military community and thesometimes difficult but progressive acculturation of its members. The first chapter focuses onthe writings of the French elite as well as popular literature from England about the Irish in the“War of the three kings”, while the second one is about the image of the Irish soldiers in thepress on both sides of the Channel during the same period. The third one explains how thesemen came to be recognised by their peers as a valuable unit in the French royal army and thefourth one explores the tactics used by Irish militarymen and their families to integrate intoFrench society. These two chapters also show the gradual decline of the actual presence ofIrishmen within the ranks of the Brigade. The question of the memory attached to the battle ofFontenoy is at the very core of the fifth and sixth chapters where the part played by Irishmenon the 11th of May 1745 is minutely studied. The birth of a distinct Irish military identity in19th century writings is also discussed. The study focuses on 18th century sources for the fifthchapter and 19th century sources from France, England and Ireland for the sixth
Dakhlia, Jamil. "Histoire de la presse de télévision en France de 1950 à 1995." Paris, EHESS, 1998. http://www.theses.fr/1998EHESA039.
Повний текст джерелаAs far as audience and profits are concerned, tv magazines are the most flourishing elements of french press. Thus, the time had come to assess their part in the general history of french journalism as well as in popular culture. The first part of this work relates their dramatic boom from 1950 to 1995 and examines their intellectual and material production costs in order to explain their extraordinary profits. Relying on various interviews of tv magazines executives, the second part develop a sociological approach of those professionals, describing their specific rites and rythms. The third part is a discursive analysis of seven magazines. To assert its influence, each of them has to maintain a special relationship with the reader. It gives its own conditioned access to tv messages and in the same time increases and builds up the reactions of the viewers. Thanks to the letters column, in particular, real publics of + tv-readers ; take shape and get self- acquainted. Beyond this agora function, some magazines supposedly stand for audience and lobby tv authorities. The fourth part investigates about the collapsing power of french tv magazines at the end of the eighties : the sale of the biggest french tv channel, tf1, in 1986-1987 makes room to new financial and commercial links between tvs and magazines. As far as most columnists are concerned, those links mean extra duties and frustrations
Buduchev, Vitaly. "La fabrique médiatique des élections biélorusses : la lecture nationale de l’événement et les représentations transnationales à l’épreuve des dynamiques coopératives." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL018.
Повний текст джерелаThis work focuses on the journalists from Russian and French daily newspapers who cover political events on the Belarussian territory. Their own national and transnational representations, are at the center of our questioning. The way their cooperative interactions elaborate the Russian and French audience's perception of the Belarusian elections is another aspect of this work. Their narrative, framed by each newspaper's editorial project for which they work is the third aspect this thesis explores.Our goal is to identify the common values that tie together the different actors of the world of information in Minsk, which is motivated by foreign reporters. Furthermore, we shed light on inner dynamics within the groups that take part in the mutual production of information, which create distinct communities that make up this world and are united around their own objectives, their own identities, and their own narrative. This is where the matter of borders between these communities lies and allows us to reveal the foreign reporters' team and the Belarusian dissident community. This work also interrogates the structures of both communities, the relationships between their respective members, their inner conventions, the relations between colleagues and individuals outside of the group. Finally, we explore the results of such cooperation, which are in line with the editorial projects of the Russian and French newspapers. Thus we analyze the expression of professional logistics on an editorial scale that transpires through the enunciation of the different press titles
Jarnier, Jean-Luc. "L’affaire Dreyfus et l’imagerie de presse en France (1894-1908)." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040023.
Повний текст джерелаThe intensity of the crisis brought about by the Dreyfus affair is a proven fact. The press plays a major role. Caricaturists, in particular, contribute their images to daily and periodical publications, books, postcards and posters. The range of styles is wide. After some hesitation – which can be very short - their contributions are constructed engagements of either attack or defence. While some are undecided or indifferent, others resort to humour. We can also see elements of duplicity. At a golden era for the press, iconography of the Dreyfus affair can be seen in numerous newspapers. The images, which have been analysed since the first signs of the Affair, show a society tormented by the defeat of 1870, a patriotism sometimes sustained by a spirit of revenge and an unstable thirty-year old Republic. They also illustrate the extremely demonstrative increase in anti-Semitism and in a multifaceted nationalism ; reinvigorated by a crisis polishing up its arms against the regime. This thesis studies, first and foremost, the careers of the caricaturists in order to appreciate the impact of the Affair on their art. Secondly, it explores the evolution of the presentation of major actors in the Affair; in particular Émile Zola, Joseph Reinach and Henri Rochefort
Lavastrou, Marc. "La réception du cinéma allemand par la presse cinématographique française entre 1921 et 1933." Phd thesis, Université Toulouse le Mirail - Toulouse II, 2012. http://tel.archives-ouvertes.fr/tel-00793003.
Повний текст джерелаPac, Bertrand. "L'historique du quartier de la Défense et ses représentations dans la presse : l'évolution de la perception d'un grand quartier d'affaires." Thesis, Bordeaux 3, 2016. http://www.theses.fr/2016BOR30017/document.
Повний текст джерелаIt is between 1960 and the end of the 1980s that lies in France the great period of the architectural shift that gives birth to the La Défense business district. The history of this monumental “Ouest Parisien” planning operation seen by journalists reveals three stages in the evolution of this project which aims to establish the capital of a “French Manhattan”, or better three strong constituent states of opinion successive : one of enthusiasm which presided over the presentation by EPAD in 1964 of the first mass of the operation plan and its first achievements on the ground, that of doubt and contestation related to the turbulent history that has experienced during the 1970s this construction giant while embroiled in the turbulence of an economic crisis that threatens the future and disorder the final design, one of the undeniable accession to the success of a project that illustrated the erection in 1989 of the “Grande Arche of La Défense”. Know what journalists thought to understand the evolution of “La Défense” is the first reason for the historical investigation about this revolutionary urban district. But it is one second, because the story is not just a purveyor of the present ; it is also generator of representations which the impact play in conjunction with the objectively established event. And, as such, the study of “La Défense” as a historical phenomenon of crystallization of the opinion Press provides an example particularly net of the contribution as a pole of attraction as effective “La Défense” district provides to the contemporary history of urbanism. Thus, after describing the historical process revealed by the gaze of the press, the interpretation of the representations of the city new will be an opportunity to demonstrate that the achievement of “La Défense” headquarters was more concerned by the awareness of the event by the event itself as this operation was, by its very nature, a media phenomenon of the first magnitude
Simard-Houde, Mélodie. "Le Reporter, médiateur, écrivain et héros : un répertoire culturel (1870-1939)." Thesis, Montpellier 3, 2015. http://www.theses.fr/2015MON30012.
Повний текст джерелаReportage, understood as investigative journalism of the written press, was invented in France in the last third of the nineteenth century, not without causing debates and contradictory representations between supporters and opponents. During the interwar period its popularity is at its peak, as reportage presents itself in different media (books, daily and weekly press) and with different relations to news and fictionalization. Reportage therefore appears less like a genre than a matrix of investigative journalism, whose formation and evolution can be traced and generic variations described (such as collective, serialized and news reportages). Linked to the development of the news media, reportage establishes the special correspondent as a mediator, a writer and a hero of modern media culture. The Reporter, as an object of the social imaginary of the Third Republic, is a complex figure, which representations are situated at the crossroads of different productions. These include fictions, press articles (reportages, interviews, obituaries, metadiscourses), Memoirs of journalists, as well as a set of iconographic representations, all of which are drawn upon to define a cultural repertoire of journalistic scenographies, fictional scenarios and authorial positions contributing to the formation of a social imaginary of the reporter, defined both as a publicized figure and a mediator. In the intrigues and stories in which the reporter appears, he meets other social imaginaries – of colonization, of the body, of technical and social progress, of the Nation. These mould the reporter into a Republican figure, closely linked to the development of parliamentary democracy and of freedom of the press, and to modern technology and media. Finally, heir of the French literary journalism, but also associated with new recording techniques (that is, visual media, photography and cinema), the reporter is the pivot between two mediatic imaginaries : one that uses the journalist's subjectivity and the prism of human mediation to account for a worldview ; the other, which will prevail in the second half of the twentieth century, claims to offer an objective grasp of reality, as permitted by the illusion of technical mediation
Lins-Peliz, Ana Carolina. "Le changement climatique dans la presse : une analyse comparative des représentations du phénomène en France et au Brésil." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040144.
Повний текст джерелаThis research examines climate change public representation in Brazilian and French newspapers. This representation includes the construction of climate change such as news. Through the analyses of newspaper articles reported in these two countries (Le Monde, Le Figaro, O Estado de São Paulo et O Globo), we found that climate change, per se, did not represents a news story’s value. Reports on climate change in newspapers are often the byproduct of the press’ discursive strategies, where intertextuality becomes a journalistic device. In this sense, the issue of climate change is intertwined with other subject matters and, by default, it establishes a relationship of dependence with other news stories. We found that political events related to climate change, essentially COPs, or the publication of new scientific findings, become crucial to the production of news, not only for divulging new facts but for promoting the circulation of information while constructing a discursive memory about the subject matter. The discourse built around climate change in the newspapers analyzed lays between antagonistic ideas of utopia and dystopia. The utopian ideals are portrayed by the notion of consensus - which in this case has not been reached, through scientific merit and by the depiction of nature. Contrary to this, dystopia is invariably represented as failure and disappointment, by the lack of political accord and allegorized as a bleak future to come
Moreno, Cécile. "Presse et mouvement social : le cas des consommateurs du XVIIIe au XXE Siècle." Université Robert Schuman (Strasbourg) (1971-2008), 2000. http://www.theses.fr/2000STR30008.
Повний текст джерелаWith a strong presence in politic, economic and media dicourses, the figure of the consumer bas, from the end of the 18th century, steadily emerged in newspapers whose names underlined their originality. These publications are the precursors of a specialized press whose development took place in three fundamental stages. At the time of the Industrial Revolution, and especially during the World Fairs, some periodicals intend to promote the figure of the consumer as a way to stimulate both production and, above all, technical progress. The second stage begins at the turn of the century, when promoting the consumer becomes a defense tactic used to combat the threat of popular violence, trade-unionism and communism. In the aftermath of the World War I, La Grande Ligue (1928-1939) looks upon the consumer as a type-figure for the middle classes, who want to consolidate themselves in the face of the rise of the working class. Finally, during the Three Glorious Decades, consumer defense constitutes a reaction to both the consequences of industrialism and the difficulties arising from a profusion of goods. Moreover, public authorities fina1ly begin to take notice of the figure of the consumer, which they consider an inescapable economic and social force. With the publication of Que Choisir in 1960 and 50 Millions de Consommateurs in 1970, consumer defense finds a new weapon : comparative tests. Henceforth, in the eyes of journalists, consumers must follow a rational process in making choices. The study of the content of these publications sheds light upon the supposed characteristics and expectations of their relationships and behaviour, as expressed in different discourses, reveals the transformations of the principles of unity and identity within this social category. Based on a corpus of previously unexplored periodicals, this work allows us to view the consumer in the context of an historie process and to understand the interests of the present-day consumer defense movement
Gabbani, Ilaria. ""L'Italiano". Un foglio letterario nella Parigi della Monarchia di Luglio." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA175/document.
Повний текст джерелаThe research aims at reconstructing a neglected episode in the cultural life of the Italian exiles in the Age of the Risorgimento and is centered on a literary magazine published in Paris, from May to October 1836: «L'Italiano. Foglio letterario».«L'Italiano» was envisaged by Mazzini in Switzerland, together with his companions ofexile, and was eventually published with the aid of a group of Italian refugees in Paris. The journal was originally conceived within the context of the «Giovine Italia», but had to face up to a number of intellectuals whose cultural and political background was extremely various and whose intent was to cooperate in order to «principiare una nazionalità, sia pure letteraria».While «L’Exilé» (1832-1834) – the nearest antecedent of this magazine – aspired to provide an history of Italian literature for the Italian and French readers, «L'Italiano» presented rather a program of «critica educatrice» and it was especially addressed to the Italian intellectuals.The circle which arised around the journal was cemented not only by an ethic and engaged conception of literature, but also by a spiritualist philosophy: even if the proponents defended the Italian character of this philosophy, it was developed through a continuous exchange with French Philosophers of the Age of Reaction, such as Pierre Leroux and Philippe Buchez.The journal's proposal was centered on dramatic theatre and melodrama, insofar as theywere considered as instruments for political mobilization, apt to set on an emotional and symbolic dimension the idea of nation, as well as to affect the working-class, without the need for written words
Questo lavoro si propone di ricostruire una pagina poco nota della diaspora risorgimentale, sorta attorno a un giornale letterario che si pubblicò a Parigi tra il maggio e l'ottobre del 1836, «L’Italiano. Foglio letterario». Concepito in Svizzera da Mazzini e da alcuni suoi compagni d’esilio, «L’Italiano» vide finalmente la luce grazie alla collaborazione di un gruppo di esuli italiani residenti nella capitale francese. Rispetto all’idea originaria, sorta in seno alla Giovine Italia, il giornale dovette confrontarsi con intellettuali dai percorsi culturali e politici assai diversi tra loro, che si trovarono a cooperare per «principiare una nazionalità, sia pure letteraria».Diversamente dal suo precedente parigino, «L'Exilé» (1832-1834), che ambiva a offrire al pubblico italiano e francese una storia della letteratura italiana, «L'Italiano» proponeva, invece, un programma di «critica educatrice» rivolto principalmente agli intellettuali della penisola. Oltre alla condivisione di una concezione etica e civile della letteratura, il sodalizio culturale sorto attorno al giornale si fondava sull’adesione a una filosofia di stampo spiritualista che, pur rivendicando un’origine tutta italiana, si alimentava grazie al confronto con alcuni pensatori francesi della Restaurazione, come Pierre Leroux e Philippe Buchez.La proposta letteraria del giornale poggiava sul teatro drammatico e sul melodramma, in cui riconosceva dei dispositivi di mobilitazione politica che, oltre a proiettare l’idea di nazione su un piano emotivo e simbolico, potevano raggiungere le classi popolari senza la mediazione della parola scritta
Laska, Andreas. "Presse et propagande allemande en France occupée : des Moniteurs officiels (1870-1871) à la Gazette des Ardennes (1914-1918) et à la Pariser Zeitung (1940-1944." Paris 2, 2002. http://www.theses.fr/2002PA020130.
Повний текст джерелаGuérin, Serge. "La presse destinée aux séniors : "Notre temps" est-il un exemple d'adaptation de la presse aux mutations du marché ?" Paris 3, 1998. http://www.theses.fr/1998PA030190.
Повний текст джерелаThe hypothesis which is the bases of the work consists in thinking of the press magazine as an economic onject caracterised by its capacity to adapt to the evolution of the requirements of its readers and by its sensitivity to the demographic, economic and social environment. To validate the hypothesis, we got more interested in the developments of the monthly magazine notre temps, the main issue targeted for "seniors citizen" (people over 60 years old). Through the studies of a sample of 30 years of edition (analysis of the content, cover story, iconography, editorials) we verified the reality of the magazine's development and the economic primacy of the process thanks to a press analysis. It has still to be confirmed that this development is adequated to current and potential readers. The analysis of part of the readers mail enables us to point out the need for a powerful link with the magazine and a need for an helping tool to the daily life. Furthermore, some reactions show the senior citizens denial to be considered as privileged. Also the "distance" they put between them and the healthier readers. Even through, senior citizens are different from their elders, if the content of notre temps has sensitive changed, the future success factor depends the editor's will to value the dynamic image of its readers, and its capacity to assume its welfare role for the more deprived
Meyer, Jean-Christophe. "L'offre de football télévisé et sa réception par la presse en France et en RFA (1950-1966) : l'édification du "Grand stade", vecteur d'identité nationale et européenne." Thesis, Strasbourg, 2012. http://www.theses.fr/2012STRAA026.
Повний текст джерелаCovering a period of 16 years starting back in 1950 our comparative study aims to stress a peculiar aspect of the history of sports media coverage in France and Germany: the evolution of television football programs and their reception by the press during this first phase of edification of the “Great Stadium”. We have primarily explored in what measure these programs played the part of a conveyor for national and European identity. The comparative approach between France and Germany pleaded in favor of analyzing principles and forces involved in the national and international governance of football and television. We first focused on the sports press and the magazines dealing with television programs since they are liable to be essentially concerned by the observed phenomenon. The analysis of the evolution of the relationships involving institutional actors in this sector is a crucial aspect of our study. The study of the supplied programs and of the rites tied with a growing consumption of television football shows is not less important. It provoked the publication of numerous contemporary opinions in the so-called popular press of both countries. These opinions sustained professional or profane theories on football broadcasting that had a lasting pertinence for some of them. Others were soon invalidated by the swift evolution of technology, of the institutional environment and regulations or by the apparition of new competitions like the European Champions’ Cup or the European Nations’ Championship. It was important to stress how a “national culture” emerged and persisted on both sides of the Rhine River during those years as far as football broadcasting is concerned. It was also important to examine how the foundation of EBU, of UEFA and the launching of diverse European competitions led to the creation, to the extension and to the establishment of a “popular” European cultural space tied with football
Dengate, Jacob. "Lighting the torch of liberty : the French Revolution and Chartist political culture, 1838-1852." Thesis, Aberystwyth University, 2017. http://hdl.handle.net/2160/eee3b4b8-ba1e-48bd-848e-26391b96af26.
Повний текст джерелаKempf, Charlotte. "Die deutschen Erstdrucker im französischsprachigen Raum bis 1500. Untersuchungen zu Materialität und Präsenz von Inkunabeln." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH181.
Повний текст джерелаWith the establishment of a press at University of Paris in 1470, the history of printing presses in the French speaking world began. One of the founders was the German scholar Johannes Heynlin von Stein. He marks the start of a historically significant development in which printers from the Holy Roman Empire are of central importance. In the 15th century, it were in fact German printers who took the initiative to establish printing presses in eleven out of forty French cities. Geographically, those presses were predominantly located in the southeast of the French Kingdom and in the Duchy of Burgundy, in the Palatinate County of Burgundy, as well as in the region of what is today the French-speaking part of Switzerland. This media-historically important transition is the focus of this dissertation. On the basis of a profound methodology rooted in the history of materiality, the thesis shows that printing presses must be understood as an intersection of different developments. A comprehensive examination of the biographies of the respective printers and their printing portfolios are presented. Additionally, this thesis records the university, urban and monastic environment of the presses and critically evaluates the printed editions. By doing so, it is possible to work out in detail – while always referring to the sources – the complexity of the transition from a period of manuscripts to a period of printed books. Hence, a transition from non-typographic to typographic societies. Finally, this thesis proves that the German printers were a communicative and trans-border networked group which exemplarily stands for the French and partly for the European history of the printing press in the 15th century. By precisely and extensively analysing one of the most important groups of printers in the 15th century, this thesis allows for new insights to the history of early French printing presses and therefore seeks to fill a gap in academic literature. Furthermore, it encourages an international and scientific dialogue
Mit der Einrichtung einer Buchdruckerei in der Universität Paris im Jahre 1470 beginnt die Geschichte des Buchdrucks im französischsprachigen Raum. Einer der Gründer war der deutsche Gelehrte Johannes Heynlin von Stein. Er steht am Anfang einer Entwicklung, in der den Druckern aus dem Heiligen Römischen Reich entscheidende Bedeutung zukam - in elf von rund 40 französischen Städten, in denen in der Inkunabelzeit eine Druckerpresse eingerichtet wurde, ging die Initiative von deutschen Druckern aus. Sie waren vor allem im Südosten des Königreichs Frankreich sowie im Herzogtum Burgund, in der Freigrafschaft Burgund und in Gebieten der heutigen französischsprachigen Schweiz präsent. Dieser mediengeschichtlich bedeutsamen Umbruchphase widmet sich die vorliegende Untersuchung. Auf der Basis einer materialitätsgeschichtlich fundierten Methode kann gezeigt werden, dass die Druckereien als Kreuzungspunkte unterschiedlicher Entwicklungslinien verstanden werden müssen. Die Studie untersucht die Biographien der Drucker, stellt ihr Druckprogramm vor, erfasst das universitäre, städtische oder monastische Umfeld der Pressen und wertet die von ihnen produzierten Ausgaben aus. Auf diese Weise kann detailliert, und stets mit Bezug auf die Quellen, die Komplexität des Übergangs vom Handschriften- zum Druckzeitalter, von non-typographischen zu typographischen Gesellschaften herausgearbeitet werden. Darüber hinaus wird nachgewiesen, dass es sich bei den deutschen Erstdruckern um eine kommunikative und über Ländergrenzen hinweg breit vernetzte Gruppe handelt, die als exemplarisch für das französische sowie in Teilen auch für das europäische Druckwesen des 15. Jahrhunderts gelten kann. Dieser Ansatz einer präzisen und umfassenden Auseinandersetzung mit einer bedeutenden Gruppe von Buchdruckern präsentiert neue Erkenntnisse zur Geschichte des frühen französischen Buchdrucks und regt zur Intensivierung des internationalen Forschungsdialogs an
Tosetto, Cristina. "Pour une histoire de la critique dramatique et théâtrale en France et en Italie (1952-1996) : du protocole texto-centré à la fabrique du théâtre." Thesis, Bordeaux 3, 2018. http://www.theses.fr/2018BOR30056/document.
Повний текст джерелаAlthough the studies on the history of theatre review and critique have followed different approaches, the critique itself has rarely narrowed its focus on a specific epistemological question. The word towards, in the title of this research, expresses the desire of designing a first study for analysing the mechanisms of critique, its structure and its protocols, considering it as an independent object for the historiographical analysis. We have therefore developed some appropriate analytical tools, based on the methodology used by researches published in magazines. Critics’ magazines and journals have formed the framework of this thesis, from which its main thread has been unveiled, namely the reform of the text-centred critical protocol. The thesis plan has been structured following this common thread from the first signs of the reform in 1952, found in France and in Italy after the death of Benedetto Croce and Jean Vilar's speech « The theatre and the soup », until Bernard Dort and Giuseppe Bartolucci, who started the modification of the protocol by introducing the concept of « scenic writing » in the vocabulary of criticism, died in 1994 and 1996, respectively. The present research is based on the analysis of many periodicals and archival documents, which are in part unpublished
Tétart, Philippe. ""France observateur" : 1950-1964 : histoire d'un courant de pensée intellectuel." Paris, Institut d'études politiques, 1995. http://www.theses.fr/1995IEPP0021.
Повний текст джерелаApril 1950, the 13th: France observateur, a new weekly, brings out. His creators (Gilles Martinet, Claude Bourdet and Roger Stéphane) want to build a place for political thought, discussion and contest. Almost no one believes in their chances of succeeding. Nevertheless, few years later France observateur imposes itself and its name becomes quickly greater in the left's history under the fourth Republic. At first neutralist and anticolonialist, proud of its socialism, the weekly fight against the war in Indochina, against the European Defense Community, against the Algerian war. It antagonizes De Gaulle in 1958 and interferes on all the burning subjects of current affairs. But, France observateur also is - or firstly - a political title which assists the "news lefts" development from the creation of the CAGI (1950) to the PSU's one (1960). So, it plays a fundamental part in the renewal of French socialism. Lastly, it's an important place for intellectual thought and it's a cultural educator for several political generations. Briefly, foreshadower of a new political and intellectual style in the history of French lefts, France observateur - for the historian - is a various subject borrowing to political history, ideas history, history of intellectuals, history of press and cultural history. This is its first interest : this newspaper couldn't be considered as a frozen subject belonging to a narrow category of contemporary historiography
Maillard, Sophie. "Pharmacie, pharmacien et médicament à travers le dessin de presse (1950-2000)." Bordeaux 2, 2000. http://www.theses.fr/2000BOR2P098.
Повний текст джерелаPatrin-Leclère, Valérie. "Pour un contrat de lecture global : l'exemple de la presse TV française." Paris 4, 2000. http://www.theses.fr/1999PA040225.
Повний текст джерелаYamani, Myriame el. "L'information sans la communication : étude comparative de la fonction politique et de l'impasse stratégique des presses féministes en France et au Québec de 1970 à 1990." Paris 4, 1991. http://www.theses.fr/1991PA040113.
Повний текст джерелаThe principal objectives of this thesis are to look at the media's ineptness to "communicate" and to understand how a political press, in this case the feminist press of France and Quebec, is caught up in a paradoxal of the media market witch forces them into self-demise. Using a critical and feminist theory of communication, our analysis of the media is inscribed in a social dynamics context. This sociological analysis of the press was conceived in order to look into several functions of a newspaper such as a market product and a social enterprise. This methodology goes beyond a mere content analysis common to most media researches. By comparing the French and Quebec feminist press from 1970 to 1990, we're able to gain several insights as to why this press is driven into a strategical cul-de-sac. The thematic of this press, their partisan discourse, their internal organization, their relation to the media market and the images that they portray, are but some of the elements that explain their precarious situation. But their real ephemerality can best be explained through their political function. By analysing the press coverage of the "Ecole Polytechnique of Montreal" tragedy, we're able to assert that the written press participates in a global "over-informational-under informing" process. The press thus loses its function as a critique of the politics and in this process, recuperates and neutralizes the autonomous voice of women
Besson, Morel Anne. "La presse enfantine sous la Monarchie de Juillet (1830-1848)." Paris 4, 1998. http://www.theses.fr/1997PA040275.
Повний текст джерелаUnknown period in French history of children's books, with 58 new reviews with illustrations and technical creations. Many great artists and writers collaborated, like V. Hugo, A. Dumas, A. De Lamartine, Gavarni or Daumier. The French administration conserve their archivs. .
Martin, Laurent. "Le Canard enchaîné ou Les fortunes de la vertu : histoire du plus célèbre des hebdomadaires satiriques, 1915-1981." Paris 1, 2000. http://www.theses.fr/2000PA010506.
Повний текст джерелаRuaud, Olivier. "L’humour pour écrire l’Histoire : le dessinateur Forges face aux paradoxes de l’Espagne franquiste." Thesis, Montpellier 3, 2017. http://www.theses.fr/2017MON30091/document.
Повний текст джерелаIn 1977, two years after General Franco has died, in a transitional process Forges,a drawer, published comics in Los Historiciclos, a story of Spain under Franco’s regime. Resuming apparently the organization of historiographical publication and focusing on a lack of information or simply disinformation, the drawer ironically plays with official and non-official aspects of the history he relentlessly questions. Beyond the historical aspects he emphasises, his work is also the opportunity to explore different narrative technics, either graphic or textual so as to challenge, with humour, Spain under almots 40 years of Franco’s dictatorship
Le, Ray Éric. "Un des fondateurs de la presse moderne, Hippolyte Auguste Marioni (1823-1904) : entrepreneur, innovateur, constructeur de machines à imprimer, patron de presse et homme d'influence." Paris, EPHE, 2004. http://www.theses.fr/2004EPHE4019.
Повний текст джерелаHyppolyte Auguste Marinoni was born in Paris in 1823. He lost his father when he was very young. He became an apprentice in Paris at the age of twelve. Two years later, in October 1837, he obtains a mechanic's certificate. In 1838, he starts to work for Pierre-Alexandre Gaveaux (1782-1844), builder of topographic machines. In 1850 and 1851, he is a member of the first team that uses successfully the rotary press device created by Jacob Worms for Emile de Girardin. The first team in the world. Girardin asks Marinoni to create new machines for the newspaper “La Liberté”, and in 1866, Marinoni register two important patents, the first rotary press, the second one for a new king of topographic machine. In 1872, Marinoni creates the first rotary press equipped with a paper roller. In 1882, he becomes the publisher of “Le Petit Journal”. His son-in-law, Jules Michaud, creates in 1890 the first colour rotary press in the world. It is used to print the illustrated to “Le Petit Journal”, edited by another of his son-in-laws, Marie-Désiré Cassagneul (1835-1921), the first gender of Marinoni has created a press empire and directs it industrially, financially and politically. American journalists call him “the Napoleon of the press”. At the end of the French Third Republic. . . It will influence the world of press and information until today. Marinoni died in January 1904
Leenaerts, Danielle. "Analyse historique et artistique du magazine Vu (1928-1940), hebdomadaire d'informations générales illustré par la photographie." Doctoral thesis, Universite Libre de Bruxelles, 2002. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211383.
Повний текст джерелаNakamura, Tadashi. "Les transformations d'une entreprise de presse : Le Nouvel Observateur (1962-1995) : politique, société, culture." Paris, EHESS, 2012. http://www.theses.fr/2012EHES0110.
Повний текст джерелаHow can the political news magazine reconcile journalistic practices and commercial growth ? The French newsmagazine Le Nouvel Observateur has continuously confronted the question since its foundation by Jean Daniel and Claude Perdriel in 1964. In terms of the total paid circulation in France, Le Nouvel Observateur has exceeded the other two major news magazine, L'Express and Le Point since 1995. In contrast, Le Nouvel Observateur is considered as a cultural and political magazine wich has opened its columns to both in-house and invited intellectual commentators. Based on the organizational analysis, this dissertation attempts to explore the transformations of Le Nouvel Observateur to understand how it achieved success both as an intellectual magazine and a publishing company. This study illustrates that the history of this company can be interpreted as a negotiation between business management and moral commitment, examining the question of "maintenance of political and economic independence" that Le Nouvel Observateur has claimed
Pouget-Brunereau, Jeanne. "Critique littéraire et dramatique dans la presse féminine française : 1800-1830 : reflets et permanence." Paris 8, 1993. http://www.theses.fr/1993PA080748.
Повний текст джерелаIn the beginning of the 19th century, with the development of the press, literary and drama criticism was taking on ever greater importance in france. But censorship was becoming overbearing and critics had to adapt. Regulated by the civil code, the universe of women maintened a low profile; in order to survive, french press for women was forced to conform to the times. Literary criticism and women's press, subjected to a political and cultural context, opted for one of two tactics: either they submitted to and supported the ideologies of the day or they rebelled and in so doing, threatened their very existence. Could these observations offer an explanation for the strange blackout that seems to enshroud women's press which in turn affected literary and drama criticism over the first 30 years of the 19th century?
Julliard, Virginie. "Emergence et trajectoires de la parité dans l'espace public médiatique (1993-2007) : Histoire et sémiotique au profit d'une étude sur le genre en politique à l'occasion du débat sur la parité." Paris 2, 2008. http://www.theses.fr/2008PA020049.
Повний текст джерелаÉveno, Patrick. ""Le Monde", une entreprise de presse de la libération à nos jours." Paris 1, 1996. http://www.theses.fr/1996PA010520.
Повний текст джерелаThe French newspaper le Monde was founded after the second world war by Hubert Beuve-Mery. During the last fifty years, the company has grown and the journal became one of the most famous in the world. This work, tells the story of this newspaper, from the foundation to the expansion and, at last, the economic crisis. This economic history of le monde is based on the study of the company's count. The newspapers market in france, the organization of the company, its products and its strategy are also analysed here
Weinmann, Ute. "La réception de l'écrivain autrichien Thomas Bernhard dans la presse française : 1968-1991 : histoire et tribulations d'un succès "littéraire" ?" Paris 3, 1997. http://www.theses.fr/1998PA030018.
Повний текст джерелаThomas bernhard, along with peter handke is, in france, one of the best known contemporary austrian writers. His enormous media presence at the end of the 1980's coincided with the french enthusiasm for vienna's fin-de siecle culture and the transformation of austria's socio-political image from positive to negative. The thesis of a connection between the reception of thomas bernhard and austria'simage in france has lead us to describe the french journalistic reception of bernhard's work, to show its progression and to analyse it through french expectations and preoccupations in the 70's and 80's. An aesthetic and literary reading during the first period (1968-1981) and a psychological interpretations of his autobiographical period (1981-1985), are followed by the ideological readings of the last period (1985-1996), in which thomas bernhard is seen mostly as a public figure, highly critical of austria. The conflictual relationship between this austrian writer and his country underlies this journalistic reception : the socio-political environment permeates the reviews of his work. This highly political perspective is due to the reversal of austria's image, but also due to domestic french preoccupations. Considered as one of the greatest western writers, thomas bernhard is held by french journalistic culture to be the guilty conscience of an antsemite, nazi austria. The relative lull in the french media "war" against austria, after bernhard's death in 1989, his "art of exaggeration" (ubertreibungskunst) is once again considered as much from a literary angle as from an ideological one. The appeal of his work and of his personality is based upon ambivalence, ambiguity and paradox at the beginning of the 90's. Moving from the scandalous austria of waldheim to the myths of vienna and the mitteleuropa, austria is increasingly present in the french media and the french are beginning to perceive its contradictory complexity. Thomas bernhard is both a representative of this austria and one of his country's exemplary critics