Relevant bibliographies by topics / Antoine jean-baptiste

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Academic literature on the topic 'Antoine jean-baptiste'

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Published: 27 July 2024
Last updated: 30 July 2024

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Journal articles on the topic "Antoine jean-baptiste"

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Todd, Christopher, and Eric Francalanza. "Jean-Baptiste-Antoine Suard, journaliste des lumieres." Modern Language Review 99, no. 2 (April 2004): 493. http://dx.doi.org/10.2307/3738795.

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Perronneau, Jean Baptiste. "Portrait of Jean Baptiste Antoine Le Moyne, 1747." Art Institute of Chicago Museum Studies 26, no. 1 (2000): 48. http://dx.doi.org/10.2307/4104426.

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Mason, H. "Review: Jean-Baptiste-Antoine Suard: journaliste des Lumieres." French Studies 57, no. 3 (July 1, 2003): 397–98. http://dx.doi.org/10.1093/fs/57.3.397.

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Burgess, Geoffrey. "(Re)presenting Rameau's Hippolyte et Aricie." Cambridge Opera Journal 10, no. 3 (November 1998): 223–24. http://dx.doi.org/10.1017/s0954586700005395.

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Each year for the past decade, the French vocal and instrumental ensemble Les Arts Florissants has visited the Brooklyn Academy of Music. In that time, three of their productions stand out as particularly significant: Jean-Baptiste Lully's Atys (1989 and 1992), Marc-Antoine Charpentier's Medée (1994) and Hippolyte et Aricie by Jean-Philippe Rameau (1997). This trilogy of landmarks in the history of French opera was presented in fully staged productions conceived by stage director Jean-Marie Villegier and conductor William Christie.
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Libault, Dominique, and Julien Damon. "Grands t�moins�: Jean-Baptiste de Foucauld et Antoine Dulin." Regards N�48, no. 2 (2015): 11. http://dx.doi.org/10.3917/regar.048.0011.

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Spielman, Andrew I. "The Birth of the Most Important 18th Century Dental Text: Pierre Fauchard’s Le Chirurgien Dentist." Journal of Dental Research 86, no. 10 (October 2007): 922–26. http://dx.doi.org/10.1177/154405910708601004.

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Pierre Fauchard (1678–1761) is considered the father of modern dentistry. His seminal book, Le Chirurgien Dentiste, ou Traité des Dents (1728), is the discipline’s first complete work. During the five years preceding its publication (1723–1728), Pierre Fauchard sought the opinions, contributions, and “ approbation” (approval) of 19 of his colleagues: six physicians, 12 surgeons, and one dentist. The first and most important contributor to the manuscript was Jean Devaux, surgeon and mentor to Fauchard. The next six reviewers were illustrious physicians and scientists of the time: Philippe Hecquet, Jean-Claude Adrien Helvetius, Jean Baptiste Silva, Antoine DeJussieu, Raymond Jacob Finot, and Antoine Benignus Winslow. The subsequent 12 reviewers were all sworn-surgeons (certified by St. Côme), including a lone dentist, Laudumiey, surgeon-dentist to His Majesty, Philip V, King of Spain. Fauchard knew that for dentistry to be regarded as a learned profession, and perhaps for Fauchard to be recognized as its leader, he needed the support and approval of the establishment before publishing his book. This is an account of how he attained this endorsement.
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Todd, Christopher. "Jean-Baptiste-Antoine Suard, journaliste des lumières by Eric Francalanza (review)." Modern Language Review 99, no. 2 (April 2004): 493–94. http://dx.doi.org/10.1353/mlr.2004.a827457.

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Cochran, Keith, and Ann Shaffer. "Antoine Forqueray, Jean-Baptiste Forqueray, Michel Forqueray, Nicolas-Gilles Forqueray ed. by Mary Cyr, and: Antoine Forqueray, Jean-Baptiste Forqueray, Michel Forqueray, Nicolas-Gilles Forqueray. ed. by Mary Cyr." Notes 73, no. 2 (2016): 331–34. http://dx.doi.org/10.1353/not.2016.0143.

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Sardet, Christian. "Deux siècles d’arts et de sciences à Nice et Villefranche sur Mer : 1) Les anciens : de 1800 à 1900." Arts et sciences 8, no. 3 (2024): 6–27. http://dx.doi.org/10.21494/iste.op.2024.1182.

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Nous racontons l’histoire de l’évolution des connaissances de la flore et la faune dans la région niçoise et en particulier celle de la faune pélagique. Dans les années 1800, Antoine Risso, Jean Gabriel Prêtre, François Péron et Alexandre Lesueur décrivent et peignent les fleurs, les poissons et des invertébrés marins. Au milieu du siècle, le naturaliste niçois, Jean Baptiste Vérany accueille des savants allemands et suisses - Johannes Müller, Rudolf Leuckart, Ernst Haeckel et Carl Vogt - qui influencent les recherches et le destin de la biologie dans la région par leurs descriptions illustrées d’organismes jusqu’alors ignorés comme les siphonophores et les radiolaires. Et dans les années 1880, Hermann Fol, Jules Barrois et Alexis Korotneff créent une station marine accueillante à Villefranche sur Mer, reconnue depuis comme un site exceptionel pour l’étude du plancton. A partir du milieu du 19ème, le Muséum d’Histoire Naturelle de Nice s’enrichit des collections de Risso, Vérany et Jean Baptiste Barla épaulés par Vincent Fossat, un peintre / illustrateur talentueux. A la fin du siècle, la région niçoise attire les souverains et aristocrates anglais et russes, des biologistes et des peintres impressionistes. Dans un article compagnon (Sardet 2024 /2 Les modernes – de 1970 à 2024), nous montrons que les organismes explorés au 19ème siècle sont toujours l’objet de recherches à l’Institut de la Mer de Villefranche (IMEV).
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Sayre, Gordon M. "A Newly Discovered Manuscript Map by Antoine-Simon Le Page du Pratz." French Colonial History 11 (May 1, 2010): 23–45. http://dx.doi.org/10.2307/41938196.

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Abstract En 2007, la bibliothèque du Congrès a acquis une carte manuscrite de la main d’Antoine-Simon Le Page du Pratz, colon de la Louisiane française et auteur de l’Histoire de la Louisiane (1758). La carte a été faite peu après le retour de l’auteur en France en 1734. Pour les historiens de la colonie française et de sa cartographie, cette nouvelle carte est très intéressante. D’abord, elle ne fait aucune référence à Moncacht-apé, un indien Yazoo qui, selon les œuvres du Pratz des années 1750, a voyagé du Mississippi à l’Océan Pacifique bien avant Lewis et Clark. De plus, la nouvelle carte suggère que Le Page du Pratz consultait le cartographe Jean-Baptiste Bouguignon d’Anville quand il était en débat avec les cartographes de la famille Delisle en 1752-53.
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Dissertations / Theses on the topic "Antoine jean-baptiste"

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Gouardères, Hugues. "La vie et l'œuvre de Jean-Baptiste Andouillé (1718-1799)." Bordeaux 2, 1995. http://www.theses.fr/1995BOR2M129.

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Delvallée, Laurent. "Les violistes Antoine et Jean-Baptiste Forqueray et la vie musicale de leur temps, 1672-1782." Paris, EPHE, 2013. http://www.theses.fr/2013EPHE4006.

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L’oeuvre pour basse de viole des Forqueray est presque limitée aux seules Pièces du Livre 1er (1747), publication posthume réalisée par Jean-Baptiste Forqueray. Cette édition contient 32 pièces réparties en 5 suites attribuées à Antoine, son père, Jean-Baptiste ne reconnaissant être l’auteur que de trois d’entre elles, et de la basse de toutes les pièces. Dédié à Henriette de France, ce recueil révèle par ses titres quelques-uns des personnages côtoyés par ces deux violistes, notamment des musiciens célèbres : Rameau, Couperin, Leclair. A l’inverse, des compositeurs insèrent parmi leurs publications une pièce intitulée La Forqueray. Ainsi, cette thèse porte sur la vie et l’activité musicale d’Antoine et Jean-Baptiste Forqueray envisagées au sein de leur entourage : les instrumentistes, les compositeurs, les mécènes tels le Prince de Conti, et aussi le Prince de Carignan, protecteur de musiciens familiers des Forqueray père et fils, les élèves dont le Régent et le Prince de Prusse. Cette recherche s’étend depuis la période légèrement antérieure à la naissance d’Antoine (septembre 1672), jusqu’au décès de son fils Jean-Baptiste (1782). Le contexte est celui de l’école française de viole sous les règnes de Louis XIV et de Louis XV
The Forqueray’s bass viol works is almost limited to the only Pieces of the first Book (1747), which was a posthumous publication realized by Jean-Baptiste Forqueray. This edition contains thirty-two pieces divided into five suites attributed to Antoine, his father. In fact, Jean-Baptiste recognizes to be the composer of three pieces amongst the whole book, and the bass of all these ones. Dedicated to Henriette de France, this book reveals by its titles some of characters mixed with the two violists, and notably famous musicians like Rameau, Couperin and Leclair. In the opposite, composers insert a pièce titled La Forqueray in their publication. So, this thesis concerns Antoine and Jean-Baptiste�����s life and musical activity considered within their circle of Family and Friends : instrumentalists, composers, patron of the arts such as the Prince de Conti and the Prince de Carignan, protector of the musicians familiar to Forqueray Father and son, the student viol players including the Regent and the Prince de Prusse. This research includes a period a little before the birth of Antoine (September 1672) until the death of his son Jean-Baptiste (1782). The context corresponds to the French School of Bass Viol under Louis XIV and Louis XV
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Martins, Lilian Al-Chueyr Pereira. "A teoria da progressão dos animais de Lamarck." [s.n.], 1993. http://repositorio.unicamp.br/jspui/handle/REPOSIP/317264.

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Orientador: Roberto de Andrade Martins
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Biologia
Made available in DSpace on 2018-07-18T08:48:50Z (GMT). No. of bitstreams: 1 Martins_LilianAl-ChueyrPereira_M.pdf: 20920635 bytes, checksum: 72bf335360a63dacf38b77514766b8a3 (MD5) Previous issue date: 1993
Mestrado
Genetica
Mestre em Genética e Biologia Molecular
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Francalanza, Éric. "Jean-Baptiste-Antoine Suard, journaliste des Lumières : essai sur la carrière et l'oeuvre d'un critique littéraire de la seconde moitié du XVIIIe siècle." Nancy 2, 1999. http://www.theses.fr/1999NAN21012.

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Si l’œuvre de Jean-Baptiste-Antoine Suard (1733-1817) peut encore nous intéresser, c'est qu'elle pose le problème fondamental de l'auteur et de la création critique au XVIIIe siècle. Ses premiers journaux, notamment, le journal étranger (1760-1762) et la gazette littéraire de l'Europe (1764-1766), sont le fruit d'une collaboration de toute l'Europe savante. De fait, la situation du journaliste qu'est Suard se révèle difficile à décrire. Elle peut être regardée comme le résultat de ce compromis, idéologique et économique, entre le pouvoir et les philosophes, qui caractérise cette seconde moitié du XVIIIe siècle. Mais cette ambiguïté tient aussi au statut même de l'homme de lettres, a fortiori du journaliste, qu'on ne saurait définir seulement, comme aujourd'hui, par le rapport de l'écrivain et de son texte. Les journaux de Suard forment une mosaïque d’œuvres dont les auteurs ne sont ni identifiés ni toujours identifiables. Force est alors de se livrer à une étude des conditions et des circonstances qui président à l'écriture de ces textes. Elles relèvent de deux ordres. L'un tient aux milieux littéraires qui servent la carrière de Suard, confirment ses goûts et le font entrer, en1774, à l’Académie Française. L'autre touche à la politique du livre - police de la librairie, ministère des affaires étrangères, censure - : la compréhension des règles complexes et diffuses qui gouvernent le monde du livre est essentielle pour qui cherche à vivre de sa plume. Suard écrira des pages remarquables sur l’idée de liberté, qui traduisent en même temps une confiance dans le système de la censure, jugée en théorie nécessaire, et un scepticisme : il doute fort de son efficacité. Reste que la réussite de Suard se mesure surtout dans son œuvre critique. Sa poétique, pourtant encore très attachée aux principes classiques, réserve une place honorable aux oeuvres d'inspiration nouvelle : son cosmopolitisme lui permet d'en appréhender la richesse avec une grande lucidité. D'autre part, son génie trouve toute son expression dans la maîtrise de l'article, forme, sinon genre, d'une modernité à la fois philosophique et littéraire. Or ce sont précisément cette intelligence de l'existence matérielle du texte, cette profondeur de l'écriture critique et cette maîtrise de l'article, qui donnent à l’œuvre de Suard sa portée littéraire, en un mot sa richesse.
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Vasilakou, Antonia. "Le mime tragique dans les mises en scène de Jean-Louis Barrault : quatre exemples : la Faim, Antoine et Cléopâtre, Baptiste et Les Suites d’une course." Thesis, Paris 10, 2014. http://www.theses.fr/2014PA100119.

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Le sujet traite de la notion du mime tragique de J.-L. Barrault dans quatre de ses mises en scènes relatives à l'art du geste et du mime.La première partie de la thèse trace les influences qui ont forgées artistiquement Barrault, dont J. Copeau, le Cartel et plus particulièrement Ch. Dullin. Une grande partie est consacrée à Étienne Decroux sur les niveaux théorique et pratique du mime corporel de Barrault. Barrault fut aussi sous le charme « magnétique » d'A. Artaud ce qui sera également évoqué à divers moments dans cette recherche. La partie est complétée par une section dédiée à l’empreinte que Barrault, par son enseignement et son travail, a laissée sur les mimes connus tels M. Marceau et J. Lecoq. La deuxième partie, définira la notion du mime tragique. Dans l’article « Le mime tragique », Barrault étend la notion du mime à l’action dramatique tout en la liant aux pouvoirs du corps humain, afin qu’elle devienne à la fois, la médiatrice entre la vie intérieure et la vie extérieure et leur expression sur scène. Le mime tragique parle d’un théâtre en interaction avec ses ressources corporelles. Il laisse entrevoir un point de vue du mime élargi, car Barrault s’éloigne de l’aspect “purement mime” pour l’étendre à un langage corporel plus vaste, composé de la technique du mime corporel Decroux, de la pensée d’Artaud, de Dullin, de Craig et même de Stanislavski. Dans la troisième et dernière partie, grâce au matériel du Fonds Renaud-Barrault, les mises en scène de Jean-Louis Barrault sont examinées du point de vue de la présence en elles du corps et du mime Il s’agit d’un chapitre qui analyse les composants du mime tragique (tels que l'action objective, l'action subjective, vie intérieure, le Double et autres) dans les pièces La Faim, Antoine et Cléopâtre, Baptiste, Les Suites d’une course
The subject deals with the concept of the tragic mime Jean-Louis Barrault in four of his theatrical performances related to the art of gesture and mime. The first part of the thesis traces the influences that have forged artistically Barrault, including J. Copeau, the Cartel and especially Ch. Dullin. A large part is devoted to Etienne Decroux’s influence on a theoretical and practical level. Barrault was also under the "magnetic" charm of A. Artaud which will also be discussed various times in this research. The section is completed by the description of Barrault’s teaching and work and its influence to well-known mimes, such as M. Marceau and J. Lecoq. The second part defines the notion of the tragic mime. In to the article “Le mime tragique” Barrault extends the notion of mime as a dramatic action. Mime becomes the mediator between the inner life, the outer life and their expression on stage. The tragic mime talks about a theater in an interaction with the actors corporeal resources. It suggests a broader perspective of mime, since Barrault deviates from the "pure mime" so as to extend it to a wider body language, consisted of Decroux’s mime technique and Artaud’s, Dullin’s, Craig’s and even Stanislavski’s theories and practices.In the third and last part, thanks to the material of the Fonds Renaud-Barrault, the directing of Jean-Louis Barrault is analyzed from the view of the corporeal presence and mime elements into his theatrical performances. Tragic mime components (such as objective action, subjective action, inner life, dublicity, etc) in the staging, will be analyzed extensively
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Donda, Pedrita Fernanda. "Erasmus Darwin e os seres vivos: concepções de \'evolução\' e herança." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/59/59139/tde-24032016-092306/.

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Erasmus Darwin (1731-1802) apresentou suas ideias evolutivas principalmente no fim do século XVIII. No entanto, elas não foram consideradas na época. Seu neto, Charles Darwin (1809-1882), na 6ª edição do Origin of species as avaliou de modo negativo, comparando-as às concepções equivocadas de Lamarck. O objetivo desta dissertação é inicialmente, descrever as concepções de hereditariedade e evolução de Erasmus, considerando o contexto de sua época. Além disso, procura esclarecer se o tratamento recebido se deveu a uma proposta fraca ou se ela mereceria uma maior consideração. Esta dissertação contém uma Introdução e quatro capítulos. O Capítulo 1 discute a vida, trabalhos e contexto em que Erasmus apresentou suas ideias. O Capítulo 2 lida com as concepções de herança e evolução presentes em Zoonomia. O Capítulo 3 discute sobre as concepções de Erasmus sobre a transformação das espécies nas plantas. O Capítulo 4 compara as concepções evolutivas de Erasmus com as de Lamarck. O Capítulo 5 procura responder às perguntas colocadas no início desta pesquisa e apresenta algumas considerações finais sobre o assunto discutido. Esta pesquisa leva à conclusão de que a transmutação das espécies não era o principal interesse de Erasmus. Ele não ofereceu uma fundamentação empírica para suas ideias. Este fato, juntamente com a situação sócio-político-religiosa da época, muito provavelmente contribuiu para a recepção sofrida. Além disso, embora existam algumas semelhanças entre as propostas de Erasmus e Lamarck, existem também grandes diferenças tais como a abrangência da pesquisa, o espaço dedicado à discussão das ideias, a fundamentação oferecida, dentre outras. Erasmus não propôs uma teoria coerente lidando com desde a origem da vida até o aparecimento do homem como Lamarck. Ele somente apresentou algumas ideias a esse respeito em obras dedicadas a outros assuntos.
Erasmus Darwin (1731-1802) mainly presented his evolutionary views at the end of the 18th century. However, they were not considered carefully at that time. His grandson, Charles Darwin (1809-1882), in the 6th edition of Origin of species evaluated them in a negative way, comparing them to Lamarcks erroneous conceptions. The aim of this dissertation is firstly to describe Erasmus Darwins conceptions on heredity and evolution considering the context of his time. Besides that, it tries to elucidate the reception received by them was due to a weak proposal or whether they deserved greater consideration. This dissertation comprises an Introduction and five chapters. Chapter 1 discusses Erasmus Darwins life, work and the context in which he presented his ideas. Chapter 2 deals with the conceptions of inheritance and evolution which are present in Zoonomia. Chapter 3 discusses Erasmus view on the transmutation of species in plants. Chapter 4 compares Erasmuss evolutionary conceptions to Lamarcks ones. Chapter 5 tries to answer the questions proposed in the beginning of this research and presents some final remarks concerning the subject. This research leads to the conclusion that the transmutation of species was not the main Erasmus concern. He did not present any empirical foundation of his views related to the subject. This fact, together with the socio-political-religious situation, must have contributed to its reception. Besides that, although there were some similarities between Erasmuss and Lamarcks proposal there were also great differences such as the scope of the research, the space dedicated to its discussion, the foundation provided, among others. Erasmus did not provide a coherent theory of the transmutation of species dealing with since the origin of life to the rise of man, departing from a study of natural history such as Lamarck. In this respect, he only presented a few ideas in works dedicated to other subjects.
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Jollet, Étienne. "Figures de la pesanteur : équilibre et pondération dans la peinture de genre du XVIIIe siècle en France (Watteau, Chardin, Fragonard)." Paris, EHESS, 1992. http://www.theses.fr/1991EHES0314.

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La conception du tableau comme totalite structuree a eu pour consequence un desinteret pour la question des efets de la pesanteur en peinture. Ceux-ci, qui ne se manifestent que par accident, jouent pourtant un role decisif dans la peinture de genre de watteau, chardin et fragonard. Ils permettent d'isoler certaines figures et de la mettre en rapport direct avec l'experience commune a tout spectateur, de par la reference a un phenomene physique qui releve a la fois de l'intuition et d'un savoir constitue, la physique. C'est de fait par l'analyse de la notion correspondante, la ponderation, dans les textes critiques et theoriques contemporains, que l'on peut tenter de comprendre ce qui apparait comme un rapport d'opposition aux savoirs contemporains, notamment scientifiques. Le jeu introduit entre bi- et tridimensionnalite dans le tableau onblige le spectateur a apprehender celui-ci en l'integrant dans son espace physique; il doit en outre prendre acte de l'immobilite conferee a la figure par la nature meme du support. Les peintres etudies s'inscrivent donc dans la tradition d'une interrogation, de saint-real a lessing, sur le temps en peinture. Cette prise en compte de l'experience du spectateur conduit a la responsabilisation de celui-ci dans les jeux de l'imagination suscites par la contemplation du tableau.
The conception of the picture as a structured whole caused a desinterest for the question of the effects of gravity in painting. These effects, which can be perceived only through accidents, play nevertheless a decisive part in the genre painting of watteau, chardin and fragonard. They isolate certain peculiar figures and put them in direct relationship to the beholder through the reference to a physical phenomenon which is identified both by intuition and knowledge. The analysis of the correspondig theoretical notion, ponderation, from the renaissance to the end of the 18th c. , allows an hypothesis about the nonrespect of such a traditional rule : a deliberate will to counteract the influence of knowledge - and particularly of scientific knowledge - in painting. The play between bi- and tridimensionnality integrate the picture in the space - and the time - of the beholder, who is made responsible for the imaginative response he gives to the picture
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Maïsseu-Nardi, Dorothée. "Le Secrétariat d'Etat à la Marine au temps du marquis de Seignelay, (1683-1690)." Angers, 2002. http://www.theses.fr/2002ANGE0028.

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L'étude du Secrétariat d'Etat à la Marine au temps de Seignelay couvre les sept années pendant lesquelles le fils aîné de Colbert a dirigé la Marine. Le Secrétariat d'Etat à la Marine est en relation constante avec les autres Secrétaires d'Etat, en particulier à la Guerre et aux Affaires Etrangères, ce qui suscite des conflits d'intérêts puisque chacun, et Seignelay en particulier, tente d'empiéter sur le domaine d'attributions d'autrui. C'est ainsi que par son influence grandissante, que ce soit par le biais de la législation, ou son action au sein des Conseils du Roi, Seignelay a réalisé et structuré un véritable ministère de la Mer. Il dispose pour ce d'une administration centrale à Versailles, et perfectionne l'institution des intendants de Marine dans les ports et arsenaux. Seignelay fait de la Marine le premier des grands services publics, ébauche les premières dispositions de Droit Social en faveur des invalides de la Marine, et esquisse un Droit Administratif au service des contrats de fournitures de la Marine. Il publie enfin l'ordonnance de 1689, qui réglemente les fonctions de chacun dans le port et l'arsenal et intègre les officiers d'Epée au sein du personnel de la Marine
The study of the Navy under Seignelay, the elder son of J. B. Colbert, concerns seven years. The Navy Office always tries to get more powerful and then interferes with the War Office and the Foreign Office. Seignelay built at least a real Sea Ministry, thanks to his work, with different law projects and his work in the Royal Councils. He was helped by the administration of Versailles and the administration of the provinces. Seignelay has created the very first public service, imagined the first articles in Labour Law and written the contracts for Navy supplies
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Gourdon, Marie-Louise. "Contribution à l'histoire de la langue occitane : systèmes graphiques pour l'occitan (niçois - provençal - languedocien) 1881-1919 : itinéraires et travaux de A. L. Sardou, J. B. Calvino, L. Funel, A. Perbosc et P. Estieu." Nice, 1997. http://www.theses.fr/1997NICE2027.

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Nous avons tenté de comprendre selon quels processus et pour quelles motivations linguistiques, idéologiques et politiques, des chercheurs, écrivains, poètes ou grammairiens, dans une situation historique ou sociologique donnée, ont tenté de mettre au point une normalisation graphique de leur langue. La période concernée va de 1881 à 1919 et concerne le niçois, le provençal et le languedocien. Pour comprendre ces mécanismes subtils, nous avons étudié le cheminement de la réflexion et les travaux de cinq auteurs : A. L. Sardou et J. B. Calvino à Nice ; L. Funel, en Provence ; A. Perbosc et P. Estieu, pour le Languedoc. Ces démarches montrent toute l'importance que revêt, dans une dynamique de renaissance littéraire et linguistique, le choix d'un système graphique. Nous avons voulu montrer les enjeux qui accompagnent ces choix et qui expliquent l'ardeur et la combativité de ceux qui les créèrent ou les défendirent. A Nice, Sardou adapta la graphie félibréenne au niçois et Calvino y appliqua la graphie d’Honnorat ; ils soulevèrent une violente polémique avec les partisans de la graphie italienne. Funel mit au point un système graphique pour unifier les dialectes en collaboration avec Perbosc et Estieu. Ces derniers mirent au point, en 1919, un système qui servit de base à la graphie d'Alibert. Il apparait que la quête de la graphie originelle pour redonner une dignité à la langue, fut celle d'une graphie propre à l'occitan, indépendante d'autres systèmes, un choix qui relève chez certains comme Funel, d'une certaine forme de nationalisme. Le choix du code de transcription reflète les choix historiques, culturels, sociaux et politiques. Nous pensons que la graphie est l'image que l'utilisateur se fait de la langue. Son choix est révélateur des attentes et des motivations qui sont les siennes par rapport au statut qu'il veut lui conférer
We tried to understand depending on whether processes and for which linguistic, ideological and political motivations, the researchers, authors, poets or grammarians in a certain historical or sociological situation tempted to focus on a normalisation of their own method of writting their language. The concern period is from 1881 to 1919 and concern the "niçois", the "provencal" and the "languedocien". To understand those subtil mecanisms we hare studied the progress of thought and the work of five authors: A. L. Sardou and J. B. Calvino for Nice, L. Funel for Provence, A. Perbosc and P. Estieu for the Languedoc. These approaches show all the importance that put on the choice of a method of writting system in a dynamic of renaissance literary and linguistic. We wanted to show why they made such choices and that explain the fervour and the pugnacity of those who created them out or defend them. In "Nice" Sardou adaptated the "felibreenne" method of writting to "nicois" and Calvino fit to it the " Honnorat" method of writting. They provokated a drastic polemic with the followers of the italian method of writting. Funel set a system of method of writting to unify the dialects in collaboration with Perbosc and Estieu, who set themselves in 1919 a system that was the base for the Alibert method of writting. It occurs that the search for the primary method of writting to give a new dignity at the language, was the one a proper "occitan" method of writting, that was independant of any other systems. A choice which is, belong certain people as Funel, a kind of nationalism form. The choice of the transcription code is an indication of historical, cultural, social and political choices. We think that the method of writting is the expression that the users have about the language. This choice is the tell-tale of what they want and whatare their motivations regarding the status they want to confer to it
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10

Mottola, Nicolau [UNESP]. "O evolucionismo no ensino de Biologia: investigação das teorias de Lamarck e Darwin expostas nos livros didáticos de Biologia do Plano Nacional do Livro Didático do ensino médio - PNLEM." Universidade Estadual Paulista (UNESP), 2011. http://hdl.handle.net/11449/90127.

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Analisou-se aqui o modo como o conceito de evolução, elaborado por Lamarck e Darwin, é apresentado nos livros didáticos de Biologia, selecionados pelo Programa Nacional do Livro Didático para o Ensino Médio (PNLEM), distribuídos em 2007 para todas as escolas da rede pública do Brasil. Para essa análise, foram consideradas as cinco teorias de Charles Robert Darwin (1809-1882), presente em sua obra A Origem das Espécies, a saber: a evolução propriamente dita, a ancestralidade comum, o gradualismo, a multiplicação das espécies e a seleção natural. E, também, as quatro leis da transformação dos animais, de Jean Baptiste Antoine de Monet de Lamarck (1744-1829). Utilizamos os procedimentos de coleta e análise de dados com base em abordagens de natureza qualitativa. Como principais resultados encontramos uma visão reducionista da teoria transformista de Lamarck, limitada a duas leis não centrais em sua obra nem de sua autoria, bem como a presença, em algumas obras, de um antagonismo entre o lamarckismo e fundamentação científica. Com relação à obra darwiniana, constatou-se que na maioria dos livros didáticos está ausente uma referência às idéias relativas à ancestralidade comum, ao gradualismo e à multiplicação das espécies. Também foi possível observar que, em alguns manuais didáticos, há uma visão a - histórica da ciência, a falta de uma contextualização sociocultural e uma carência em relação à história e à filosofia da biologia. Nesse sentido, há um prejuízo na compreensão das idéias contidas nas obras de Lamarck e Darwin, acarretando uma limitação no entendimento do conceito de evolução
We analyzed here how the concept of evolution, developed by Lamarck and Darwin, is presented in textbooks of Biology, selected by the National Textbook Program for high school (PNLEM), selected in 2007 for all public schools in the Brazil. For this analysis, we considered the five theories of Charles Robert Darwin (1809-1882), present in his work The Origin of Species, namely: the actual evolution, the common descent, the gradualism, the multiplication of species and the natural selection. Also, the four laws of transformation of animals, Jean Baptiste Antoine de Monet de Lamarck (1744-1829). We use the data collection and analysis of data based on qualitative approaches. The main results, we find a reductionist view of Lamarck's theory transvestite, limited to two laws do not even central in his work of his own, as well as the presence, in some works, an antagonism between Lamarckism and scientific reasoning. With reference to the work Darwinian, it was found that in most textbooks is missing a reference to the ideas on common ancestry, the gradualism, and the multiplication of species. Was also observed that in some textbooks, there is a vision – of historical science, the lack of a socio-cultural context and a lack in relation to history and philosophy of biology. In this sense, there is a loss to understand the ideas embodied in works of Lamarck and Darwin, leading to a limitation in understanding of the concept of evolution
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Books on the topic "Antoine jean-baptiste"

1

Francalanza, Éric. Jean-Baptiste-Antoine Suard: Journaliste des lumières. Paris: Champion, 2002.

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Francalanza, Eric. Jean-Baptiste-Antoine Suard: Journaliste des Lumières. Paris: H. Champion, 2002.

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Schwerin, Staatliches Museum. Jean-Baptiste Oudry, Jean-Antoine Houdon: Vermächtnis der Aufklärung : Sammlung Staatliches Museum Schwerin. Schwerin: Staatliches Museum, 2000.

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Thomas, Antoine Jean-Baptiste. Antoine Jean-Baptiste Thomas e il popolo di Roma: 1817-1818. Roma: Campisano editore, 2016.

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Abel, Louis. Kembs en Sundgau rhénan: L'Eglise et l'architecte du XVIIIème siècle : François-Antoine Zeller, 1740-1816, et son activité en Haute-Alsace. [Kembs, France]: Association du souvenir de l'Eglise St-Jean-Baptiste de Kembs, 1986.

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Corsi, Pietro. The age of Lamarck: Evolutionary theories in France, 1790-1830. Berkeley: University of California Press, 1988.

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Marbot, Jean-Baptiste-Antoine-Marcelin. The memoirs of Baron de Marbot: Late lieutenant-general in the French Army. London: Greenhill Books, 1988.

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Colloque des Invalides (4th 2000 Paris, France). Les mystifications littéraires: Calixte Beyala, Francis Blanche, Jean-Baptiste Botul, Claire Chazal, Mitrophane Crapoussin, Régine Deforges, abbé Domenech, Michel Leiris, Antoine de Livron, Paul Masson, Myriam Mester, Edgar Poe, Rabelais, Arthur Rimbaud, Julien Torma, Touchatout, Voltaire, Binjamin Wikimorsk, etc. Tusson: Du Lérot, 2001.

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Der Französische Barock: Jean-Baptiste Lully, Marc Antoine Charpentier und Jean-Philippe Rameau. GRIN Verlag GmbH, 2008.

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Antoine Leduc et les descendants de son fils Jean-Baptiste Leduc. Ste-Anne-de-la-Pérade, Qc: Editions Les Amis de l'histoire, 1992.

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Book chapters on the topic "Antoine jean-baptiste"

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Sr, Charles Burney,. "To Jean-Baptiste-Antoine Suard: Queen Square, 24 May 1771." In The Letters of Dr Charles Burney, Vol. 1: 1751–1784, edited by Alvaro Ribeiro, S.J., 81–83. Oxford University Press, 1991. http://dx.doi.org/10.1093/oseo/instance.00054708.

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Sr, Charles Burney,. "To Jean-Baptiste-Antoine Suard: St Martin's Street, 25 May 1776." In The Letters of Dr Charles Burney, Vol. 1: 1751–1784, edited by Alvaro Ribeiro, S.J., 211–12. Oxford University Press, 1991. http://dx.doi.org/10.1093/oseo/instance.00054763.

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Savettieri, Chiara. "La Galerie de Florence de Jean-Baptiste Wicar et Antoine Mongez : tradition et originalité à l’époque de la Révolution." In Jean-Baptiste Wicar et son temps 1762-1834, 123–53. Presses universitaires du Septentrion, 2007. http://dx.doi.org/10.4000/books.septentrion.111435.

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Leniaud, Jean-Michel. "Joachim Le Breton et Antoine Quatremère de Quincy, secrétaires perpétuels de l’Académie des Beaux-Arts : deux conceptions divergentes du musée." In Jean-Baptiste Wicar et son temps 1762-1834, 79–91. Presses universitaires du Septentrion, 2007. http://dx.doi.org/10.4000/books.septentrion.111395.

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"Attracting New Patrons in the Eighteenth Century." In Claude III Audran, Arbiter of the French Arabesque. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2024. http://dx.doi.org/10.5117/9789463729284_ch04.

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During the Régence, the nobility left Versailles and flocked back to Paris, constructing new grand townhouses that required interior decoration. For these commissions, Audran combined venerable motifs with those from popular culture suited to each patron. For Louis de Béchameil, marquis de Nointel (1630–1703), Audran and his then assistant Jean-Antoine Watteau (1684–1721) painted a ceiling and panels with singerie and made reference to Momus, god of satire, and the Régiment de la Calotte, a French secret society. For other patrons, such as the comtesse de Verrue, Jeanne-Baptiste d’Albert de Luynes (1670–1736) and Abraham Peyrenc de Moras (1686–1732), Audran customized designs to suit their taste and collecting habits. Contemporary sources add to the description and reception of these commissions.
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Gratzer, Walter. "The physicist’s peregrinations." In Eurekas and euphorias, 268–70. Oxford University PressNew York, NY, 2002. http://dx.doi.org/10.1093/oso/9780192804037.003.0167.

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Abstract If the French revolutionaries cut off Antoine Lavoisier’s head, declaring that the Revolution had no need for scholars [90], the Republic nevertheless upheld the primacy of reason and encouraged the growth of science and technology. One of its monuments is the metric system of measurement, which succeeded in all spheres except that of time. The standard of length laid down, the metre, was to be one ten-millionth of the separation of the North Pole from the Equator along the Paris meridian. The Bureau des Longitudes was charged in 1806 with determining this length with the greatest possible precision. Some preliminary measurements based on the distance from Dunkirk to Barcelona were made and a provisional metre bar already reposed in Paris, but greater certainty was demanded: the measurements were to be extended to the Balearic Islands, through which the meridian also ran, passing south from Barcelona. Dominique François Jean Arago (1786-1853) and Jean-Baptiste Biot (1774-1862) were chosen for the task; Arago was then 20, Biot 12 years older.
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Tunley, David. "The Early Cantata Composers (i) Jean-Baptiste Morin And The Emergence Of The Eighteenth Century French Cantata." In The Eighteenth-Century French Cantata, 46–67. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198164395.003.0004.

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Abstract To the minds of eighteenth-century writers on the subject there was no doubt that the paternity of the French cantata could be traced to Jean Baptiste Morin (1677-1745), ordinaire de la musique in the household of the Duke of Orleans. The Duke’s enthusiasm for Italian music may have been kindled by Marc-Antoine Charpentier, who taught composition to the future Regent of France,1 and, as has been mentioned earlier, the royal pupil in turn encouraged his musicians to compose and perform in the Italian style. The House of Orleans seems to have been a veritable incubator of musical Italianism in France, and it is therefore not at all surprising that the first three French composers to publish books of cantatas inspired by the Italian form were attached in some way to Philippe Ill’s household.
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Dolman, Han. "THE DISCOVERY OF THE CARBON DIOXIDE MOLECULE." In Carbon Dioxide through the Ages, 37–61. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780198869412.003.0003.

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Abstract This chapter deals with the appearance of the carbon dioxide molecule on the world stage. The Flemish medical doctor Jean Baptiste van Helmont discovered that something was released when charcoal was burned. He called that a gas, a gas sylvestris, a spirit from the woods, or wild spirit. Around the middle of the nineteenth century the Scotsman Black discovered that a white powder, magnesium alba, when heated would lose air, that was previously held: fixed air (carbon dioxide). Like van Helmont, the German scientist Becher and Stahl realized that in combustion (burning) a substance was released, called by Stahl phlogiston. The Frenchmen Antoine Lavoisier discovered however that not the mysterious phlogiston was released during combustion, but something was taken up. What was taken up, turned out to be oxygen, the discovery of which should probably be credited to both Lavoisier and the Englishman Joseph Priestley. Priestley later also experimented with fermentation and discovered further properties of ‘fixed air’. John Dalton put everything on a modern footing and gave the first accurate description of carbonic acid, composed of one element of carbon and two of oxygen. It was then up to the Russian Dmitri Mendeleyev in 1889, to put the final touch to our chemical understanding by developing the periodic table. Carbon had an atomic weight (relative to hydrogen) of 12, oxygen of 16, so a molecule of carbon dioxide would weigh 44. The structure of carbon dioxide and indeed most of its properties were known.
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Hendrickson, Brett. "New Mexican Catholicism in Transition." In The Healing Power of the Santuario de Chimayó. NYU Press, 2017. http://dx.doi.org/10.18574/nyu/9781479815500.003.0004.

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Soon after the Santuario’s construction was completed in 1816, Spain was defeated in Mexico’s war for independence (1821). In 1847 the regime once again changed, with the arrival and takeover by the Americans during the Mexican-American War. This chapter shows how New Mexican Catholics, especially in and around Chimayó, adapted to the changes in both political and ecclesiastical oversight that occurred in these tumultuous decades. Other topics are the 1837 Chimayó Rebellion; the difficulties and conflicts that resulted from Archbishop Jean Baptiste Lamy’s tenure; and the challenge by Padre Antonio José Martínez and other local Hispano leaders to the new order imposed by Archbishop Lamy.
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