Academic literature on the topic 'Chine – Politique culturelle – 1945-'
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Journal articles on the topic "Chine – Politique culturelle – 1945-"
Harvey, Fernand. "Le développement des études québécoises dans le monde." Globe 4, no. 2 (February 14, 2011): 59–81. http://dx.doi.org/10.7202/1000634ar.
Full textWhite, Bob W. "L’incroyable machine d’authenticité." Anthropologie et Sociétés 30, no. 2 (February 28, 2007): 43–63. http://dx.doi.org/10.7202/014113ar.
Full textHarvey, Fernand. "La vie culturelle à Québec (1791-2008)." Les Cahiers des dix, no. 62 (September 24, 2009): 251–81. http://dx.doi.org/10.7202/038127ar.
Full textJessen, Ralph. "Dictature communiste et milieu universitaire. Étude d'histoire sociale des professeurs d'université de la RDA, 1945-1961." Annales. Histoire, Sciences Sociales 53, no. 1 (February 1998): 91–117. http://dx.doi.org/10.3406/ahess.1998.279653.
Full textWade, Geoff. "Engaging the South: Ming China and Southeast Asia in the Fifteenth Century." Journal of the Economic and Social History of the Orient 51, no. 4 (2008): 578–638. http://dx.doi.org/10.1163/156852008x354643.
Full textGauvreau, Michael, and Jean-Philippe Warren. "Diagnostiquer la « schizophrénie spirituelle » du Canada français1 : la politique spirituelle de Claude Ryan, 1952-1958." Revue d’histoire de l’Amérique française 67, no. 3-4 (April 22, 2015): 375–401. http://dx.doi.org/10.7202/1030039ar.
Full textDussault, Éric. "Politique culturelle et dénazification dans la zone d'occupation française en Autriche (Tyrol et Vorarlberg) et à Vienne de 1945 à 1955." Guerres mondiales et conflits contemporains 221, no. 1 (2006): 83. http://dx.doi.org/10.3917/gmcc.221.0083.
Full textLudwig, Bernard. "Denis Goeldel, Le tournant occidental de l'Allemagne après 1945. Contribution à l'histoire politique et culturelle de la RFA, Strasbourg, Presses Universitaires de Strasbourg, 2005,375 p., 24€." Revue d’histoire moderne et contemporaine 54-3, no. 3 (2007): 209. http://dx.doi.org/10.3917/rhmc.543.0209.
Full textKalman, Samuel. "Unlawful Acts or Strategies of Resistance?" French Historical Studies 43, no. 1 (February 1, 2020): 85–110. http://dx.doi.org/10.1215/00161071-7920478.
Full textThisselin, Thomas. "Le rôle des virtuoses dans la valorisation de la musique soviétique Examen de la presse communiste française. Examen de la presse communiste française." Slovo The Distant Voyages of Polish..., Varia (May 6, 2021). http://dx.doi.org/10.46298/slovo.2021.7452.
Full textDissertations / Theses on the topic "Chine – Politique culturelle – 1945-"
Perilhon, Cyrielle. "La « danse classique chinoise » : outil et produit de la propagande intérieure et de la diplomatie culturelle (1949-1966)." Paris, EHESS, 2015. http://www.theses.fr/2015EHES0160.
Full textChinese classical dance (ccd) is a concept which appeared in the early 1950s, in the People's Republic of China. The gestures of xiqu, a synthetic form of show, are identified as the final morphology that "Chinese dance" would have adopted from a linear historic perspective and that must be extracted. This was experimented in the context of the building of a socialist State during the Cold War. The ccd is consequently destined to be both a national "language", serving librettos aiming at "educating the people" and at representing China on the choreographic and diplomatic scene in the East as well as in the West. Some of them tend to implement first of all the catchword which is "learn from the advanced experience" of the socialist countries. Some others take advantage of the first tensions with USSR from 1955 and of the policy of peaceful coexistence led in Asia in order to direct researches towards other endogenous and exogenous forms, legitimating their practice as an answer to the injunction to build a national form or to the catchword "reject old forms to create new ones". All these practices, the pieces of work they produce and the speeches made up to legitimate them are thus opposed according to the domestic and foreign political stakes. Therefore this survey analyses the speeches performed in this convergence between national propaganda and cultural diplomacy as well as the organization of these speeches and the context within the first appearance and the future of the pieces of work and the practitioners relevant to ccd
Fresnais, Jocelyne. "Au regard de l'histoire contemporaine : la protection du patrimoine culturel en République populaire de Chine (1949-1989)." Paris, EHESS, 1990. http://www.theses.fr/1990EHES0020.
Full textThe protection of the cultural heritage in china from 1949 to 1989 is the result of successive policies which have been undertaken by the chinese governement. This synthesis of research examines the effects of procedural, legal and administ rative frameworks on the conservation of chinese monuments and sites. It also set out to study the bounds of the preserv ation of property as historical relics exposed to the danger of cultural nationalism itself. Rules of procedure, financial resources, technical activities, economic development and its problems are discussed toget her with actual cases; emphasis is on urban conditions, their potential importance or danger for the development of cons ervation in china
Yu, Min. "Art sous contrainte : artistes, peinture et politique en République populaire de Chine (1949-1966)." Paris, EHESS, 2016. http://www.theses.fr/2016EHES0145.
Full textFrom the foundation of the People's Republic of China (1949) to the eve of the Cultural Revolution (1966), artists were subjected to a dogma : art must serve the people. This imperative, which was constantly repeated, cause two subjections. For the artists, their status changed radically. To become artistic workers, they were obliged to submit to the ebb and flow of mass movements and political campaigns. For the artistic creation, the mission was to support and celebrate the new regime, and to educate the people. This research attempts to examine how the artistic policy of the Chinese Communist Party, by forcing the artists to be "red" before being "experts", disrupts and put the three kinds of paintings in competition : oil painting, Chinese painting (guohua) and New Year painting (nianhua). At the center of these disruptions, the question of the choice of realism is posed, especially the Soviet socialist realism, which was a unique response to the political expectations. Has this choice prioritized the legibility of painting to the detriment of its pictorial qualities ? Has it engendered specific visual models and codes to illustrate the new policy and the transformation of landscape, the representation of the people, or the celebration of the cult of Mao Zedong ? Or has this instrumentalization of painting met with the resistance or a way of escape, which has preserved some of the autonomy of painters ?
Graezer, Bideau Florence. "La danse du yangge en Chine contemporaine : enjeux politiques et pratiques sociales." Paris, EHESS, 2005. http://www.theses.fr/2005EHES0075.
Full textThis dissertation studies the role of cultural policy as a tool of power in 20th century China. By focusing on different categories of popular culture in their historical, political, intellectual and social context, this research shows how the notion of culture is, and has always been an important stake of the struggles taking place in the ruling elite. Through anthropological, historical and comparative analysis of several social and cultural activities -yangge dance, qigong exercises, festivities linked with some pilgrimages or traditional celebrations - this dissertation highlights the will of the chinese communist party to build a policy governing national cultural practices. Illustrations taken from fieldwork in Beijing and Shaanxi clarify not only the process of the making of cultural traditions and the issues it entails bu also the place these activities occupy in the emergence of a civil society and their role in the project of building a "spiritual civilization"
Timmerman, Matthieu. "« L’animal littéraire » : Investigation du politique dans l’œuvre de Simon Leys." Lille 2, 2007. http://www.theses.fr/2007LIL20013.
Full textThere is now a consensus about Simon Leys’ political writings which, paradoxically, people endeavour to analyse only in polemical terms. The image of the pamphleteer accurately describres the man who for several years denounced the so-called Moist experts. But by focusing on one context and on these skilful diatribes, are we not disregarding the essential? Reading Essays on China is not purely an excuse to inveigh against the blinkered views of scholars, it questions a course and an expertise constructed in reaction to a politicalstance. The Essays should be seen therefore not as a lecture detached from the rest of his work, but as an inextricable partof it. This thesis aims to engage with the issues raised by Simon Leys’ critique of Chinese totalitarianism. The first concerns his analysis of the “Cultural Revolution”. For the sinologist, the event is characterised by a drastic loss of cultural identity depriving Chinese society of its referents. Doubts over the ability to come through such an upheaval increasingly predominate in the writings. The second concerns the distance which Simon Leys deliberately maintains in regard of politics. The relevance of the Essays can be understood through thid specific position of the artistic critique , namely a view which becomes evident from a world of real life an ambiguity. However this insight, perceptive because it is off-centre, questions this defiant reaction against politics – these antipolitics – as a consequence of the totalitarian upheaval
Xie-Fouques, Lingqiong. "Sauvegarde du patrimoine architectural en Chine : la notion de guji, 1909-1937." Paris, EHESS, 2016. http://www.theses.fr/2016EHES0069.
Full textThe thesis analyses the notion of guji - literally "traces of the past" - through national regulations and institutions on heritage protection, as well as safeguard actions of imperial sites and Buddhist temples in Peking. The period studied covers the end of the last imperial dynasty and the first decades of the Republican era until the beginning of the Sino-Japanese War in 1937. Guji is a term used under imperial China to generally designate built or natural sites and buildings which evoke the reminiscence of the past. We borrow it in our study in order to put forward the Chinese specificity in the understanding of the concept of architectural heritage. If, progressively, the architectural quality and authenticity of monuments have been added as heritage selection criteria in the national regulations, designed by Western educated scholars and inspired by Western experience, they are far from really being considered in the practice of protection. In most cases, the function of a site or a building is the key factor leading to its physical transformation: function prevails over architectural form. The absence of a real attention to the materiality of architectural heritage is deeply linked to the perception of architecture in the imperial period: instead of being considered as an artistic work per se, the building is above all a component of a living and organic whole, whose function is the source of its vitality. By examining the notion of guji, we aim to demonstrate the strong cultural connection between imperial China and Republican era
Sun, Jiawen. "Corps et politique dans la Chine contemporaine : sociologie de la souffrance parmi les anciens jeunes instruits envoyés dans les fermes militaires pendant la Révolution culturelle." Thesis, Paris, EHESS, 2020. http://www.theses.fr/2020EHES0164.
Full textIn this thesis, we select the educated youth (zhiqing) who have been sent to the military farms (Bingtuan) during the Cultural Revolution as our objet of research. Through the analysis of their oral history, we examine the difficulties and the traumas those educated youth have encountered in their life-course from the perspective of sociology of the body and medical anthropology, with the aim of finding out the social and political origins of the suffering endured by this “lost generation”. Firstly, by applying the oral history research and the life-course approach, we comprehensively present the various sufferings encountered by different groups of educated youth. Concerning the genre of suffering, we explore their physical pain and mental trauma. In terms of the diachronic nature of suffering, we interrogate the injuries that have occurred in the past and the psychological or physical traumas that have had lasting effects over the years. Secondly, within the theoretical framework of the sociology of value, we analyze the value crisis, the deprivation and the reconstruction of values experienced by the generation of educated youth. We point out that the multiple deprivations of value suffered by the zhiqing during the process of social change have been exactly the social origin of their sense of “being lost”. In addition, the collective narratives of the educated youths about their physical pain actually reflect their hope that society and the authorities would recognize their sacrifices. Thirdly, from a historical perspective, we explain the particular concepts of body politics that the generation of educated youth, generally regarded as the “Maoist New Men”, has been inculcated. We examine the nationalization, the revolutionization and the collectivization of the Chinese body in the social context of national salvation since the end of the Qing dynasty. We propose that the radicalization of the “Maoist New Men” is not the result of contingency, but of deep historical, social and political reasons. Finally, we explore the possibility of saving the historical truth from the structural amnesia. Our ambition is to write the history of the Maoist era in a broader historical and social context, and to integrate the suffering of the Chinese during this era with the universal human suffering, so that similar tragedies would never happen again
Wang, Jing. "Le théâtre français en Chine contemporaine (1978-2014)." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA125.
Full textContemporary Chinese theater has a close connection with Western theater. For one century, Chinese theater, and especially spoken theater, has analyzed and appropriated Western cultures by filtering and summing up characteristics according to its own interests and presuppositions.This appropriation is accompanied by a series of theatrical operations.In this perspective, we have presented in detail, analyzing specific and varied cases, the reception of French theater in China of the last forty years in two stages: from 1978 to 1992 and from 1993 to 2014. We have emphasized the historical characteristics of each period, which clearly influence the general environment of Chinese theater and its relation to Western theater, by highlighting the influence and the major role played by French theater in the landscape of modern Chinese culture and especially his theatrical creations. The rich exchanges with Frenchtheater allow the Chinese theater to dialogue, to question, to evolve and to rebuild its ownidentity
Nguyen-Rouault, Florence. "La politique juridique extérieure de la République populaire de Chine : territoire et souveraineté." Paris 2, 2003. http://www.theses.fr/2003PA020009.
Full textKim, Hee Eel. "Idée politique et communication culturelle et religieuse en Chine, Corée et France." Paris 8, 1986. http://www.theses.fr/1986PA080010.
Full textThe @purpose of this study is to anlyzeand examine the causes of development and policy of ideal and cultural communication and religion. Also this study aims to search its special reference to communication content analyse of confucianisme, bouddhisme, taoisme ideal of asia and ideal occdent. The mouvement of confucianiste and socialist of marxism was developted the complexical situation of society. This mouvement was developed amidst the complex and particular situation of the world; it it was a mouvement which manifested to a high degree the pre ceding open minded international communication and solution orientation which led to an historical turning point incontemporary. Accordinly, the contemporary people winded their own views towarddevelopment of society. These are the main contents and logic running through this thesis
Books on the topic "Chine – Politique culturelle – 1945-"
Galbraith, John Kenneth. Ambassador's journal: A personal account of the Kennedy years. New York: Paragon House, 1988.
Find full textDefrance, Corine. La politique culturelle de la France sur la rive gauche du Rhin, 1945-1955. Strasbourg: Presses universitaires de Strasbourg, 1994.
Find full textGoeldel, Denis. Le tournant occidental de l'Allemagne après 1945: Contribution à l'histoire politique et culturelle de la RFA. Strasbourg: Presses universitaires de Strasbourg, 2005.
Find full textDussault, Éric. La dénazification de l'Autriche par la France: La politique culturelle de la France dans sa zone d'occupation, 1945-1955. [Sainte-Foy, Québec]: Presses de l'Université Laval, 2005.
Find full textZukang, He, Wang Zehuai, and Wen hua da ge ming de qi yuan fan yi zu., eds. Wen hua da ge ming de qi yuan. Shijiazhuang Shi: Hebei ren min chu ban she, 1989.
Find full textArt, ideology & economics in Nazi Germany: The Reich chambers of Music, Theater, and the Visual Arts. Chapel Hill: University of North Carolina Press, 1993.
Find full textSteinweis, Alan E. Art, ideology and economics in nazi Germany: The reich chambers of music, theater, and the visual arts. Chapel Hill: University of North Carolina Press, 1993.
Find full textPetropoulos, Jonathan. The Faustian bargain: The art world in Nazi Germany. London: Allen Lane, 2000.
Find full textPetropoulos, Jonathan. The Faustian bargain: The art world in Nazi Germany. New York, N.Y: Oxford University Press, 2000.
Find full textOntario. Esquisse de cours 12e année: Politique canadienne et mondiale cpw4u cours préuniversitaire. Vanier, Ont: CFORP, 2002.
Find full textBook chapters on the topic "Chine – Politique culturelle – 1945-"
Thaisy, Laurence. "Chapitre 6. Prestige et propagande culturelle." In La politique cinématographique de la France en Allemagne occupée (1945-1949), 123–37. Presses universitaires du Septentrion, 2006. http://dx.doi.org/10.4000/books.septentrion.76056.
Full textMessaoudi, Alain. "Au croisement des cultures savantes et des cultures populaires : Baya et l’art des autodidactes dans le Maghreb des années 1945-1960." In Une histoire sociale et culturelle du politique en Algérie, 277–94. Éditions de la Sorbonne, 2018. http://dx.doi.org/10.4000/books.psorbonne.55597.
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