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1
Bloom, Kelly. "Orientalism in French 19th Century Art." Thesis, Boston College, 2004. http://hdl.handle.net/2345/477.
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Thesis advisor: Jeffery Howe<br>The Orient has been a mythical, looming presence since the foundation of Islam in the 7th century. It has always been the “Other” that Edward Said wrote about in his 1979 book Orientalism. The gulf of misunderstanding between the myth and the reality of the Near East still exists today in the 21st century. Napoleon's invasion of Egypt in 1798 and the subsequent colonization of the Near East is perhaps the defining moment in the Western perception of the Near East. At the beginning of modern colonization, Napoleon and his companions arrived in the Near East convinced of their own superiority and authority; they were Orientalists. The supposed superiority of Europeans justified the colonization of Islamic lands. Said never specifically wrote about art; however, his theories on colonialism and Orientalism still apply. Linda Nochlin first made use of them in her article “The Imaginary Orient” from 1983. Artists such as Jean-Auguste-Dominique Ingres, Eugène Delacroix and Jean-Léon Gérôme demonstrate Said's idea of representing the Islamic “Other” as a culturally inferior and backward people, especially in their portrayal of women. The development of photography in the late 19th century added another dimension to this view of the Orient, with its seemingly objective viewpoint<br>Thesis (BA) — Boston College, 2004<br>Submitted to: Boston College. College of Arts and Sciences<br>Discipline: Fine Arts<br>Discipline: College Honors Program
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Couton, Philippe. "The institutional participation of French and immigrant workers in 19th-century France /." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36901.
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Recent theories of the social consequences of institutions point to aspects of class and ethnic relations that are not fully captured by conventional institutional perspectives. Using some of these recent theoretical contributions, this thesis analyzes the influence of institutional conditions on the mobilization of French and immigrant workers in late 19th-century northern France. Two main institutional structures are discussed: France's unique network of labour courts, and the socialist cooperatives created by Flemish workers in the 1880s. The empirical, chiefly archival evidence suggests two main conclusions: labour movements emerged and evolved strongly influenced by the judicial framing of labour relations, which they in turn sought to use and modify to their advantage; the institutional innovation of Flemish immigrant workers had a durable influence on the organization of labour politics in northern France, and contributed to their integration as active social and political participants.
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Mayo, James Oliver 1984. "Images of Corsica in France : travel memoirs and 19th century writers /." Diss., CLICK HERE for online access, 2009. http://contentdm.lib.byu.edu/ETD/image/etd3041.pdf.
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Mayo, James Oliver. "Images of Corsica in France: Travel Memoirs and 19th Century Writers." BYU ScholarsArchive, 2009. https://scholarsarchive.byu.edu/etd/1764.
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Considered an integral part of Metropolitan France, the island of Corsica is situated nonetheless on the very periphery of the modern state that claims it. Actually situated geographically closer to Italy than to any part of France, its culture and its people are likewise more closely related to their Italians neighbors than to the rest of what Corsicans term "Continental France." Following the acquisition of Corsica, both government officials and bourgeois travelers would seek to visit the island, often recording their findings and publishing these memoirs for others to know of their travels. This concept of travel memoirs, specifically those regarding Corsica, had already been a fairly common practice among the British, as they had often placed interest in the island itself. From this group of French and British travel memoirs would come the writings of James Boswell, P. P. Pompéi, and the Baron de Beaumont, among others. Corsica becomes a place of unique setting for novels and short stories throughout the century, with tales of banditry, vendetta, and violence from the island. For those authors seeking to place their stories in Corsica, inspiration was drawn from the very travel memoirs they had read regarding the island, although often they chose to ignore them in favor of stereotypes. I have chosen three specific 19th century authors in relation to the images created by the travel memoirs of Corsica: Prosper Mérimée, Honoré de Balzac, and Guy de Maupassant. The purpose behind each author's use of the images of Corsica was very different and shows different ways that these images were used. Mérimée directly used Corsica to question the triumph of the civilized over the uncivilized, Balzac used Corsica to represent France itself, and Maupassant used Corsica to show that "reality" is really nothing more than a personal illusion. Though when publishing their travel memoirs the authors might not have expected much to come of them, they have actually influence an entire century of writers, and possibly an entire nation, with their images of Corsica.
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Szabo, Jason. ""Suffering, shame and the search for succour" : incurable illness in nineteenth-century France." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84870.
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Abstract not available.<br>Until now, historians have devoted relatively little attention to the rich field of patients' struggles with chronic progressive disease. This study proposes to begin to fill this lacuna by examining in detail the meaning and implications of one central principle of nineteenth-century clinical medicine: incurability. Though the judgement of incurability is the product of a medical encounter, its significance extended well beyond the clinic. For being incurable in nineteenth-century France was a social event in the broadest sense, putting the individual at the centre of a complex web of people with different expectations and duties. Patients and their farnilies sought relief and solace within the confines of their homes and, frequently enough, in hospital. The physician was expected to prognosticate and to heal, while women, usually members of the immediate family or a religious order, carried out the duties of daily care. Either by choice or institutional diktat, many incurably ill individuals were visited by a priest or some other representative of the Church. Finally, their lives were deeply influenced by the decisions of local and, to an ever increasing degree, national politicians mandated to tackle questions of charity and social policy. Each chapter of this thesis will examine facets of the experience of incurability within the context of existing social structures: medical, religious, economic, and political.
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Schuman, Samuel A. "Representation, Narrative, and “Truth”: Literary and Historical Epistemology in 19th-Century France." Oberlin College Honors Theses / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1621948796558803.
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Bouagada, Habib. "Orientalism in translation: The one thousand and one nights in 18th century France and 19th century England." Thesis, University of Ottawa (Canada), 2005. http://hdl.handle.net/10393/26857.
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The objective of this study is to show how translation contributes to the "Orientalist" project and to the past and present knowledge of the Orient as it has been shaped by different disciplines such as anthropology, history and literature. In order to demonstrate this, I have decided to compare the Arabic text Alf Leyla wa Leyla (The One Thousand and One Nights) with the French translation by Antoine Galland (1704-1706) and the English translation by Sir Richard Burton (1885).
According to Edward Said, the Orientalist project or Orientalism is mainly a French and British cultural enterprise that has produced a wide-ranging wealth of knowledge about an Orient that has been represented as an undifferenciated entity with despotism, splendour, cruelty, or even sensuality being its main attributes.
I have chosen these translations because they come from places with a long Orientalist tradition. In 18th century France, the age of the Belles infideles, Galland is a man of the Enlightenment who appears to be a precursor of Orientalism as embodied in Montesquieu's Lettres persanes and Votaire's zadig. A century later, Burton's The Arabian Nights, backed by a deep knowledge of Islam, is published. Burton is an official in the service of the British Empire---an empire that takes pride in having the highest number of Muslim subjects.
The evolution of Alf Leyla wa Leyla and its translations is followed by an analysis of the shifts applied to the representations of Oriental elements found in it (social and religious practices). These shifts as well as the annotations that refer to Arabo-Islamic culture are related to Galland and Burton's intellectual development and to the socio-historical context of their respective translations.
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Brick, Michael 1984. "The proffered pen: Saint-Simonianism and the public sphere in 19th century France." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11270.
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viii, 157 p.<br>The French "utopian socialist" movement known as Saint-Simonianism has long been recognized for its influence among 19th century engineers. An examination of the early Saint-Simonian journal, Le Producteur , however, reveals the articulation of an appeal to contemporary men of letters. A survey of the life and career of Hippolyte Carnot, a prominent Saint-Simonian man of letters, confirms and illustrates the nature of this appeal as it developed alongside Saint-Simonian ideology. Central to this appeal was the Saint-Simonians' attributing to the "artist" the role of moral educator. In their conceptualization of this function, the Saint-Simonians essentially presented a model of what Jürgen Habermas has termed the "public sphere" in strong contrast to that of classical liberalism. In the final analysis, however, the Saint-Simonians can be read as arguing not for the totalitarian domination of public life (as some have suggested) but rather the necessity of what Antonio Gramsci described as "hegemony."<br>Committee in charge: Dr. George Sheridan, Chair;
Dr. David Luebke, Member;
Dr. Daniel Pope, Member
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Rogachevsky, Neil Simon. "The French army and the plebiscite of 1870." Thesis, University of Cambridge, 2014. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708409.
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Boucher, François-Emmanuël. "L'Héritage du christianisme en France 1750-1848." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38465.
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From the Enlightenment to the Romantic period, many writers transformed Christianity into a religion of temporal salvation. Whether they manifest, in their writings, a will to destroy it (Voltaire, Helvetius, d'Holbach, etc.) or to surpass it (Leroux, Lamennais, Hugo, etc.), all refer to its dogmas as a paradigm of argumentation from which they suggest a new explanation of the world and, most important, they all propose a transformation of the society. The goal of my thesis is to offer a new analysis of this period that spreads from 1750 to 1848. In my hypothesis, I stipulate that before 1789, the philosophers of the Enlightenment never undertook a real "de-Christianisation" and that at the turn of the century, the writers did not return exactly to Christianity. Far from taking the position that the argumentation had transformed itself in a manner that radically differed during this historical period that preceded and followed the French Revolution, my goal is to show that a same will to ameliorate the human condition on earth was manifested in comparable ways throughout these different discourses. The thought of these authors is rather a testimony of a new "sacralisation" of which finality is now on a temporal level: sin is not necessary and, more importantly, it is possible to abolish it through social reformations. This desire of a better world is the most important message that Christianity passed on to the thinkers of this period. By viewing human existence in this way, modernity could be defined not as the end, but rather as the inheritance of Christianity or, to say it all, as its humanization.
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Normandin, Sebastien. "Visions of vitalism : medicine, philosophy and the soul in nineteenth century France." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=100666.
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Vitalism is an underappreciated and often misunderstood idea. This thesis seeks to explore the historical origins and meanings of vitalism in 19th century France; tracing the transition from medical vitalism in the Montpellier School in the late 18th and early 19th century to a largely philosophical vitalism in the late 19th century, emblemized by Henri Bergson.<br>I argue that the decline of medical vitalism was brought about by the rise of scientific medicine, the experimentalism of physiologists like Claude Bernard and the growing influence of positivism in late 19th century France. I see the seminal moment of this transition from a metaphysical to a scientific world-view in the materialism-spiritualism controversy of the 1850s, which was sparked by the development of modern biology and the experimental life sciences.<br>Despite its general disappearance from mainstream medicine and science, vitalism continued to have echoes in a number of fields in the 20th century, and remains a concept relevant to our contemporary circumstances.
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Dodds, Dawn Marija. "Funerals, trials, and the problem of violence in 19th-century France : Blanqui and Raspail." Thesis, University of Cambridge, 2010. https://www.repository.cam.ac.uk/handle/1810/283867.
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This dissertation examines funerals and trials as sites of structured and systematic left-wing political opposition. Both funerals and trials offered radical republicans an important opportunity to bypass the restrictions that censorship and anti-association laws put on publicising their agenda: large crowds were amassed, lengthy speeches were made (often viciously critical of the government), and these events received wide-spread press coverage. The theme which runs through these sites of political activity is the interplay between the accusation of violence and claims of political legitimacy. The scope of this project is contained by following the lives (and deaths) of two prominent radicals from the generation that came into public politics with the Revolution of 1830: François-Vincent Raspail (1794-1878) and Louis-Auguste Blanqui (1805-1881). Both from Southern France, they came to Paris as students, struggled to make ends meet, and became involved with the <i>Charbonnerie</i> in the 1820s. They emerged as political leaders in the aftermath of the Revolution of 1830, and both went on to be involved with the opposition press and political clubs. Although Blanqui spent nearly 40 years in prison to Raspail’s seven and some, they were arrested and stood trial with comparable regularity. The opportunity for political organisation and expression created by the death of notable figures reached well beyond their funerals, and statue campaigns and anniversary celebrations proved particularly important. The significance of this final chapter does not just rest on the strategic expansion of the political space created by these deaths, but on the extent to which the use of the mythology around Raspail and Blanqui went on to be used to serve different agendas after their deaths.
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Boyd, Jane E. "The mapping of modernity impressionist landscapes, engineering, and transportation imagery in 19th-century France /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 319 p, 2009. http://proquest.umi.com/pqdweb?did=1818417341&sid=2&Fmt=2&clientId=8331&RQT=309&VName=PQD.
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Gilkey, Emily 1984. "Marriage in Crisis: The Individual and the State in Belle Epoque France." Thesis, University of Oregon, 2009. http://hdl.handle.net/1794/10059.
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vii, 80 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.<br>This thesis offers an analysis of the competing interests of the state and the
individual in Belle Epoque France as manifested in a crisis of marriage. I argue that
traditional institutions that favored social stability were incompatible with a modern
understanding of individual rights. My argument is centered on three issues: the abolition
of the dowry, the legalization of divorce and the legitimization of free union.
Conservatives considered familial stability to be a vital element of national security,
thereby justifying extensive state interference in marriage practices. Liberals contended
that the primary function of government was to guarantee individuals maximal freedom.
These competing interests produced a climate of crisis that pitted two irreconcilable
visions of marriage against one another.<br>Committee in Charge: George Sheridan, Chair;
David Luebke;
Alexander Dracobly
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Stevens, Melissa. "Our bodies, our cells: the subjugation of women's bodies in nineteenth century France." Thesis, Boston University, 2003. https://hdl.handle.net/2144/27782.
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Boston University. University Professors Program Senior theses.<br>PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.<br>2031-01-02
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Vouitsis, Elpida. "Camille Pissarro's Turpitudes sociales : challenging the medical model of social deviance." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98591.
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The French temperance movement during the nineteenth century believed that it had discovered the source of social problems when it linked accidents, conjugal violence and crime to an increase in alcohol consumption by the working classes. In a swift attempt to curb these societal ills, the campaign led by the medical community targeted the working classes in France. This instigated the further alienation of the masses and allowed government officials to promote its own agenda of moral reform. In an effort to expose the elitist intentions of this state run temperance movement, this thesis analyzes four images from Camille Pissarro's unpublished album, Turpitudes Sociales of 1889, which represent similar imagery but with an opposite message. I will analyze these images from Pissarro's unpublished work in order to shed light on his incorporation of class relations and depiction of the bourgeoisie's negative impact on the French working classes.
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Hendrickson, Kendra Beth. ""Vitalité": Race Science and Jews in France 1850-1914." PDXScholar, 2014. https://pdxscholar.library.pdx.edu/open_access_etds/1948.
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Race science is built on ideas of division and categorization. In the historian's quest to tell the story of race science, certain frameworks have been used that can greatly inhibit our understanding of this fraught topic. The impulse to study race science in the framework of the nation-state has led to certain misconceptions and lends itself to a historical narrative wherein racist concepts stop at artificially imposed borders. In addition, the national framework detracts from the individual's contributions and instead lumps these contributions together on the level of the nation-state, thus opening the door for judgments about whole nations being more or less responsible for race science.
In this work, I explore contributions to race science pertaining to the "Jewish race" (which I have simplified to the phrase "Jewish race science") made by individual French writers and scholars. These contributions have been overlooked at times by historians who look to more notorious examples, such as those made by German race science theorists; in failing comprehensively to examine all significant contributions to race science, historians have often inhibited their own ability to understand Jewish race science fully. If such a historical field is to be understood, one must be aware of the full range of development of Jewish race science, both in terms of geographical scope and scholarly focus. By bringing attention to Jewish race science contributions made in nineteenth-century France, it is my intention to broaden the understanding of this field and to help bring about a new approach to the field that is less reliant on the nationalist framework in its evaluation of the nature and impact of race science.
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Zhang, Jianqiao, and 張劍喬. "Marginalized women under the spotlight : Third Republic (1870-1940) schoolmistresses portrayed in French literature." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2014. http://hdl.handle.net/10722/211121.
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Juxtaposing historical evidence with fiction, this thesis probes into the social marginalization of Third Republic schoolmistresses reflected in literary stereotypes. Despite their manifold representation in novels, the general stereotype is still predominant: a displeasing teacher in misery. Mostly secluded in provincial posts, they suffered not only from material indigence and burdensome teaching, but also from the hostility projected from their surroundings. Under these unfavorable circumstances, many took refuge in professional devotion and abnegation. However, they sometimes developed an ideal of heroism and self-sacrifice, which were comparable to nuns’ religious credos.
Women teachers’ political portrait is often left out of literary representation. Because they could not even defend themselves and have their interests protected by superiors, political engagement would mean little to their secluded lives. Yet in the masculine Republic, women educators shouldered a political task of forming girls as qualified mothers and companions who embraced republican values. The Republic’s reinvention of the secular faith and the lay School manifested its inheritance of the Catholic legacy it strived to eradicate, best demonstrated by its imitation of a laicized religious discourse, epitomized in literature by institutrices’ spirit of martyrdom. Through their professional efforts, they came into the public sight and increased their political impact. With their pacifist ideal, militant teachers safeguarded the Republic as well as republican schooling. Above all, as a result of their continuous struggles, they shattered the image of domestic women by proving themselves to be independent and public, shaping the New Woman “prototypes” of the new century.
The “vices” of new career women were evident, for their new professional identity contravened conventional norms of gender roles. It was the teaching career that gave them an anomalous sexual experience, by depriving them of their womanly roles as wives and mothers. The image of the embittered “vieille fille” thus became a target for demonization, which was presumably a cultural motive behind Colette’s writings. She arguably employed the image of schoolmistress as a vehicle for exposing a public polemic between traditional and modern views on gender roles, in the context of major social transformations especially in thought.
Schoolmistresses are a metonymy of French republicanism: a republican experiment which conflicted with women’s traditional functions and undermined the inveterate masculinist order. Third Republic schoolmistresses underwent a metamorphosis from domestic to public as they acquired new social roles. While institutrice literature shares profound bonds with autobiographical accounts, many testimonies also suggest an inclination of being attached to and even governed by novels. Despite the fact that literature is fabricated upon a universe of stereotypes, many teachers spontaneously chose fictional texts as the representative of their professional voice, making these “republican mythologies” a collective autobiography which articulated institutrices’ individual career pathos to a broader audience.<br>published_or_final_version<br>Modern Languages and Cultures<br>Master<br>Master of Philosophy
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Jacobus, Rhea B. "The literature of the French flute school, 1800-1880 : style characteristics, sociological influences, and pedagogical applications." Virtual Press, 1990. http://liblink.bsu.edu/uhtbin/catkey/720140.
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The years from 1800 to 1880 produced a distinct and identifiable body of flute literature representative of the Napoleonic age in France and also the Romantic period as a whole. The changing role of the flutist exhibited in this vocally-based literature can be traced to effects from the development of the Boehm system and to certain nineteenth-century sociological changes in France. Compositions from this school also reflect the emerging status of the flutist as solo virtuoso.The literature of the French flute school represents a hybrid form of instrumental virtuosity and extremely expressive melodies which holds a unique place in flute literature. Nevertheless, its use appears to be decreasing steadily, probably due to differing opinion about the questionable musical value of this body of music. The present study was therefore devised to identify idiosyncratic characteristics of the literature, and to examine possible pedagogical applications in light of these characteristics.Six composers were chosen who were flutist-virtuosi from 1800-1880: Tulou, Boehm, Altes, Genin, Demersseman and Andersen. Biographical information was included to enlarge the sociological picture of the flutists' status as Romantic virtuosi, and to aid in the presentation of various descriptions of the expressive role of the new flute.One composition by each composer was selected for analysis. Where possible, actual Conservatory Exam pieces were chosen. A pool of recurrent common characteristics emerged which are clearly related to the sociological framework of nineteenth-century France. Finally, the isolated elements were examined for possible pedagogical benefits.<br>School of Music
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Donaldson, Sharon Olivia. "Models and Their Artists: The Dichotomous Representation of Women in The Unknown Masterpiece, Manette Salomon and The Masterpiece." Thesis, Virginia Tech, 2000. http://hdl.handle.net/10919/33210.
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This thesis proposes to analyze the dichotomous representation of the female model as benevolent and malevolent in three 19th-century French novels. Honoré de Balzacâ s The Unknown Masterpiece (1834), Jules and Edmond de Goncourtâ s Manette Salomon (1867), and à mile Zolaâ s The Masterpiece (1886) are all novels set in artistâ s workshops and all portray the female model as playing an essential role in determining the success, then demise of the male painter. My study of these texts will therefore focus on the juxtaposed presentations of the female models in terms of their relationships to the male artists. It will reveal how as the artists succeed in transforming their modelsâ bodies into aesthetic nudes and containing these representations within the parameters of their canvases as a means of asserting their authority, the models are positively portrayed. On the contrary, when the artists fail to transform and contain their modelsâ bodies, these female characters are negatively depicted as being the source of the paintersâ ruin. By examining this dichotomous representation of the female models, I will reveal the complex means by which the patriarchal order within the texts oppresses the female characters.<br>Master of Arts
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Wong, Mei-kin Maggie, and 黃美堅. "Collecting and picturing the orient: China's impact on nineteenth-century European Art." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B2954452X.
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Arenas, Erick G. "A historical Study of Charles Gounod's Messe Solennelle de Sainte-Cecile." Thesis, University of Oregon, 2004. http://hdl.handle.net/1794/23902.
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189 p.<br>Church music has been given relatively little scholarly attention in the study of nineteenth-century music. While there is an array of mass settings that were composed by Romantic-era composers, current musicological research marginalizes them. Paris was one location where a tradition of composing new masses continued well into the nineteenth century. While best known for his works for the stage, Charles Gounod (1818-1893) was a leading French composer of sacred music and one of the most prolific sacred composers of his time. His most important liturgical composition is the Messe solennelle de Sainte-Cecile, which once enjoyed considerable international success. This thesis focuses on the history of this mass in biographical and historical context. I discuss the topics of music and religion in France from the Revolution to Gounod's time, the composer's long musical relationship with the church, the music of the Messe de Sainte-Cecile, and its reception.
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Daughtry, Ann Dring. "Convent refuges for disgraced girls and women in nineteenth-century France /." Title page, contents and summary only, 1991. http://web4.library.adelaide.edu.au/theses/09PH/09phd238.pdf.
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Jones, Thomas Chewning. "French republican exiles in Britain, 1848-1870." Thesis, University of Cambridge, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609095.
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Batts, Peter M. "Lacordaire's understanding of "restoration" in relation to his refounding of the Dominican Order in the 19th century France." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0015/NQ57018.pdf.
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Zobl, Franz Xaver. "Regional economic development under trade liberalisation, technological change and market access : evidence from 19th century France and Belgium." Thesis, London School of Economics and Political Science (University of London), 2018. http://etheses.lse.ac.uk/3755/.
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This PhD thesis analyses the spatial dimension of economic development in 19th century France and Belgium. During the 19th century Western European economies underwent a socio-economic and technological transformation to sustained rates of economic growth. The integration of domestic and foreign markets driven by declining transport costs and the reduction of trade barriers, shaped the economic geography of Western Europe. Consisting of three articles, this PhD thesis provides detailed empirical analyses of the spatial effects of trade liberalisation, technological change as well as the relative importance of market access and factor endowments. The first article studies the spatial effects of the Cobden-Chevalier treaty of 1860 which lifted all import prohibitions on British manufacturers, exposing French producers to intensified British competition. The results show that increased British competition has led to a shift in the spatial distribution of French production and employment. Regions located closer to Britain lost employment and output shares in industries which experienced a rising importance of British imports. The second article analyses the interrelatedness between the diffusion of power technologies and urbanisation. I ask the research question whether French adherence to water power, and slow diffusion of steam technologies, was associated with low urbanisation, limited gains from urban agglomeration and through this mechanism constrained economic development. I find that steam-powered firms were around twice as likely to be located in urban regions while water-powered firms were highly associated with rural municipalities. Moreover, urban firms paid higher wages and were more productive than their rural counterparts. The third article studies the importance of access to coal and markets to explain regional patterns of Belgian industrialisation. The analysis shows that both access to coal and markets played important roles, suggesting that supply and demand factors should be seen as necessary rather than sufficient conditions of 19th century industrialisation.
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Yim, Denise. "The Chinnery family papers (1793-1843)." Phd thesis, Faculty of Arts, 2000. http://hdl.handle.net/2123/13715.
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Slave, Alexandra. "Écriture Artiste and the Idea of Painterly Writing in Nineteenth-Century France." Thesis, University of Oregon, 2018. http://hdl.handle.net/1794/23104.
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My interdisciplinary dissertation, Écriture Artiste and the Idea of Painterly Writing in Nineteenth-Century France, studies the notion of écriture artiste as an ideologically charged aesthetic doctrine that provides a better understanding of the rapports between art and the socio-historical context of mid nineteenth-century France. Specifically, using a case study approach, I examined four encounters between writers and painters, including Gustave Flaubert, Gustave Moreau, the Goncourt brothers, Eugène Delacroix, Émile Zola, Édouard Manet, J.-K. Huysmans and Odilon Redon. I analyzed how these pairings, each illustrative of a different facet of écriture artiste, highlight extratextual realities of the time through aesthetic embellishments. Findings show that some of these artists refashion the existing hierarchy of academically legislated rules on style by purposefully obscuring legibility in order to valorize artistic productions as alternatives to, not copies of, nature. Moreover, they reshape cultural views by staging the coexistence of lyrical and positivist elements, thus encouraging an array of subjective interpretations. I conclude that écriture artiste provides a valid framework for analyzing a self-conscious type of art that uses symbolic power to shape public taste. In turn this provides alternatives to a monolithic model upheld by legitimate culture. The central contribution of my project is its analysis of écriture artiste as a concept that does not fit neatly specific categories of genre or literary movements.
My work intervenes in extant debates on literature and the visual arts in the latter half of the nineteenth century by challenging the critical tradition that considers écriture artiste as a pedantic descriptive style. My dissertation broadens the scope of écriture artiste beyond the work of the Goncourt brothers. This expansion of the field also reveals that this type of art theory is developed with an acute consciousness about the power of art and the artist to reach a changing readership, prompted by the shifting ideological climate of the time.
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Olszewski, Margaret. "Designer nature : the papier-mâché botanical teaching models of Dr Auzoux in nineteenth-century France, Great Britain and America." Thesis, University of Cambridge, 2010. https://www.repository.cam.ac.uk/handle/1810/252215.
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LOMBARDO, Davide. "Humour, spectacle and every-day life : pictorial comedy in London and Paris, 1830-1850." Doctoral thesis, European University Institute, 2007. http://hdl.handle.net/1814/10427.
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Defence date: 24 October 2007<br>Examining Board: Prof. John Brewer, (California Institute of Technology) ; Prof. Laurence Fontaine, (EHESS-CNRS) ; Prof. Mark Hallett, (University of York) ; Prof. Eckhart Hellmuth, (Ludwig-Maximilians-Universität München)<br>PDF of thesis uploaded from the Library digital archive of EUI PhD theses<br>no abstract available
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Deruchie, Andrew. "The French symphony at the fin de siècle style, culture, and the symphonic tradition /." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=115596.
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This dissertation examines the symphony in late nineteenth- and early twentieth-century France by way of individual chapters on the period's seven most influential and frequently performed works: Camille Saint-Saens's Third Symphony (1885-86), Cesar Franck's Symphony in D minor (1887-88), Edouard Lalo's Symphony in G minor (1886), Vincent d'Indy's Symphonie sur un chant montagnard franrcais (1886) and Second Symphony (1902-03), Ernest Chausson's Symphony in B-flat (1890), and Paul Dukas's Symphony in C (1896). Beethoven established the primary paradigm for these works in his Third, Fifth; and Ninth Symphonies, and the principal historical issue I address is how French composers reconciled this paradigm with their own aesthetic priorities within the musical and cultural climate of fin-de-siecle France.<br>Previous critics have viewed this repertoire primarily with limited structuralist methodologies. The results have often been unhappy: all of these symphonies are in some ways formally idiosyncratic and individual, and their non-conforming aspects have tended to puzzle or disappoint. My study draws on recent methods developed by Warren Darcy, Scott Burnham, and others that emphasize the dynamic and teleological qualities of musical form. This more supple approach allows a fuller appreciation of the subtle and sophisticated ways in which individual works unfold formally, and the spectrum of procedures French composers employed.<br>My study demonstrates that the factors shaping the French symphony in this period included imperatives of progress as well as the popularity of the symphonic poem. Some of the earlier symphonists covered in this study also felt the need to confront Wagner's influential theoretical writings: mid -century he had famously proclaimed the death of the symphony. As many writers have argued, the archetypal heroic "plot" that Beethoven's symphonies express embodies the subject-laden values---notions of individual freedom and faith in the self---that prevailed in his time. Different inflections of this plot by French symphonists, I argue, reflect the variegated ways fin-de-siec1e French culture had received these values.
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Anesti, Maria. "'La femme modèle' from the first communicant to the affectionate mother : a dialogue between painting and moral discourse under the early Third Republic (1870-1900)." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7574.
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This PhD dissertation seeks to define the configuration and evolution of French women’s moral identity and social status, through works of art created during the first thirty years of the Third Republic (1870-1900). More specifically, my thesis investigates the artistic perception and visual recording of “traditional” female roles and analyses the socio-historical factors which contributed to the construction of the ideal woman. I focus on the representation of young girls’ education and First Communion and study the portrayal of maternity which was perceived both as a personal role and a republican ideal. Furthermore, I consider the institutions of marriage and family through portraits and scenes of everyday life. The woman’s relations to the Catholic Church within a secular state, as well as the notions of chastity and patriotism, are thoroughly explored. In my dissertation I prioritised nineteenth century texts, where French doctors, demographers and statesmen from different ideological backgrounds give moral guidelines concerning hygiene, breastfeeding and childcare, or analyse phenomena such as the birth rate decline. The writings of these authors who communicated major social anxieties served as an evaluative platform; more specifically, I ventured to see how French painters and illustrators participated to the most important debates of their time. Therefore, the criterion for the choice of images was not artistic excellence, but their engagement with the moral and social issues I decided to consider. Since in my thesis pictures are treated within a socio-historical context, I was challenged to achieve a balance between the visual and theoretical material, making them inter-relate effectively. Finally, my time-frame covers the three first decades of the French Third Republic and observes the succession of different governments. I investigate to what extent certain social attitudes which were developed during this period of thirty years shifted, and try to find out whether these alterations are conveyed in painting.
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Gulliver, Michael Stuart. "DEAF space, a history : the production of DEAF spaces Emergent, Autonomous, Located and Disabled in 18th and 19th century France." Thesis, University of Bristol, 2009. http://hdl.handle.net/1983/684e15c4-9ab0-4f41-8f75-3faa42d4a1ee.
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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.
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This work proposes a double analysis of the mundane society representations between 1885 and 1914, in the press and the novel. This analysis separates these two categories of media to insist on their particularities, and tries to think of them in terms of an interaction.<br>A 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.<br>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.
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Brown, Julian Richard. "The field of ancient Cham art in France : a 20th century creation : a study of museological and colonial contexts from the late 19th century to the present." Thesis, SOAS, University of London, 2013. http://eprints.soas.ac.uk/16812/.
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This thesis takes a new look at the art of ancient Champa. Breaking away from traditional studies, it looks at the art not in its ancient Cham context, but rather through its present and recent past contexts. The study asks “What exactly is Cham art?” To answer this, I examine not only the artworks, but also the museums and exhibitions, the display and classification. After an introduction explaining the background to the research, Chapter 2 contrasts two statues of Ganesh in French museums, tracing their biographies and questioning what constitutes Cham art. In Chapter 3, I examine the architectural line-drawings of Henri Parmentier, which have represented Ancient Champa visually for over a century, revealing the complex temporality within which they mediate between the present and multiple pasts. Chapter 4 looks at the history of the Danang Cham Sculpture Museum through the choices and decisions of the men who have shaped Cham art into what it is today. In Chapter 5 I investigate how Cham art was displayed in a series of exhibitions in museums and a department store basement in the United States, Paris and Brussels, while Chapter 6 is a study of a major Cham exhibition at the Musée Guimet, examining its narrative threads and historical and colonial interconnections and its implications for Cham art history. I conclude that Cham art is much more than just the physical traces of the Cham past. It is the preserving, displacing, labelling, copying, interpreting and displaying of the art that makes it what it is just as much as its original functions. I suggest, therefore, that the field of Cham art studies as we understand and view it today is actually something of our own invention, a largely 20th century construct. We do not yet know, therefore, what the Ancient Cham art of the future will be.
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Mulvey, Margaret N. "The School Fugue: Its Place in the Organ Repertoire of the French Symphonic School, a Lecture Recital, Together with Three Recitals of Selected Works of J.S. Bach, D. Buxtehude, C. Franck, P. Eben, F. Mendelssohn, R. Schumann, M. Reger and Others." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278639/.
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This study focuses on the central role which fugue d'ecole, as defined and taught by the post-revolutionary Conservatoire de Paris, played in re-establishing standards of excellence in organ composition and aiding the development of the French Symphonic Organ School. An examination of counterpoint and fugue treatises by Cherubini, Dubois, and Gedalge reveals the emergence of a specific school fugue form, intended for academic purposes only, as a means to instilling discipline and honing the technical skills required in all forms of musical composition.
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Pauk, Filgueira Barbara. "Crossing the channel : socio-cultural exchanges in English and French women's writings - 1830-1900." University of Western Australia. School of Social and Cultural Studies, 2009. http://theses.library.uwa.edu.au/adt-WU2009.0083.
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The focus of this study is an investigation of cross-channel exchanges represented in travelogues, historical works, journalism, letters and journals written by English women Frances Trollope, Lady Margaret Blessington, George Eliot and Julia Kavanagh on France and by French women Flora Tristan and Marie Dronsart on England. The work is based on the view that narratives about another culture betray preconceptions and beliefs and are never innocent descriptions. Nineteenth-century English descriptions of France, for instance, are not only marked by the stereotype of the gregarious French bon vivant but also by the often tense political relationship and economical concurrence between the two countries. French descriptions of England reflect the consciousness of England's superiority in the domains of economy, industry and colonialism as well as the stereotype of the boring, monosyllabic, haughty, egoistic and often xenophobic Englishman. Given that writings on the other culture are marked by practices and belief systems as well as notions of superiority and inferiority like texts emerging from a colonial context, ideas which have been developed in this field by scholars such as Sara Mills and Reina Lewis have been used as a basis for this investigation. I argue that the women whose texts I analyse strategically employ 'discourses of difference' (to use Sara Mills' term), or alignment and 'othering' in regard to nation, class, and political opinion, in order to gain positions which allow them to challenge contemporary ideologies of femininity. They take advantage of their positions in very different ways, according to their personal, class and economic situations, their agenda, and their gendered position within society which changes significantly during the century. The English women Frances Trollope, Lady Margaret Blessington, George Eliot and Julia Kavanagh construct themselves as part of the tradition of French salonnières from the seventeenth century to the present, while the French women Flora Tristan and Marie Dronsart align themselves with English travel writers, particularly Lady Mary Wortley Montagu. Through a careful construction of these foremothers, which often differed from other representations of them, they criticise gender politics in their own country and endeavour to normalise their own activities as intellectuals and writers, in the case of Tristan as a socialist and feminist activist. This strategy is complemented by 'othering' with regard to nation, class and political convictions which confers on the women an authoritative authorial voice and / or allows them to support their argument. They endorse ideologies of gender, nation and class at the same time as they reject some aspects of them. This study reveals new aspects of nineteenth-century discussions of the so-called 'woman question' through a broader approach which encompasses not only the parameters of gender, class and political orientation but also cross-cultural experience.
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Kolekar, Pramila. "Dreamscapes: Blurred Realities and Blended Identities; India on the Nineteenth-century French Stage." Thesis, Boston College, 2018. http://hdl.handle.net/2345/bc-ir:107939.
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Thesis advisor: Kevin Newmark<br>India featured in a large number of performances on the nineteenth-century French stage. The term “contact zones” coined by Mary Louise Pratt in her article “Arts of the Contact Zone” designates spaces where two cultures “meet, clash, and grapple with each other” (34). The nineteenth-century French stage functioned as an ideal contact zone, providing a dynamic forum for the construction of French and Indian identities. My corpus is selected to demonstrate the breadth and diversity of India as a trope in nineteenth-century theatrical performances. In the dissertation, I analyze the plays both as text and performance. In addition, I situate the plays within the context of their time. Theater reviews are an important tool in achieving this contextualization: they allow a play to be studied in situ, giving a glimpse of the social, political, and cultural circumstances surrounding the production. The effects of a turbulent political and social environment are studied by investigating shifts in audience reactions to the same play or to a similar one over a period of time. The study considers an author’s avowed intentions, as recorded in an accompanying preface, along with both the text of the play and the audience response chronicled in press reviews, to see if intention, expression, and reception coincide. The effort is to understand the play as a dynamic event that occurs simultaneously in two directions. On the one hand, the play is shaped by its environment; on the other, it works to inform and influence the audiences who witness it. The nuanced interaction between the Self and the Other is rendered more visible through this approach. With the support of colonial and post-colonial theories such as Orientalism, subalterneity, and hybridity, the issues that are disclosed in this analysis of nineteenth-century French theater are rendered current and relevant. The dissertation is composed of three main chapters. Each chapter is unified in theme, viz. Historical drama, Bayadères, and Sanskrit drama. Different plays with similar themes or different adaptations of the same play are compared to each other. Shifts in time and perspective are recorded, both in the creation as well as the reception of these plays. The treatment of stereotypes is studied in all three chapters. In addition, for each chapter, a specific issue that is particular to that section of the corpus is highlighted: problems of veracity in ostensibly factual historical accounts for Historical drama, the challenges of reconciling reality with imagination (contrasting the actual visit of Indian dancers in France to the theatrical representations of bayadères) for the chapter on bayadères, and challenges of translation for Sanskrit drama. This reveals the complex underpinnings of plays that could appear banal at first glance. The dissertation unfolds the manner in which the French contend with India in the role of the Other during the nineteenth century, when interest in India was at its peak in France. Even when reduced to a finite number of stereotypes, India is perceived as a space of excess; its complex and multifaceted nature is exacerbated by its size and distance from France. India is found to be overwhelming and beyond the reach of French possession, physical or ideological. India cannot be easily co-opted into French narratives of identity-formation: any construction of national, racial or cultural identity, whether of the French Self or the Indian Other, is shown to be unstable. Over the course of the nineteenth century, India reverts to being the place of myth and fantasy it has been since medieval times. Nevertheless, traces of India’s presence on the nineteenth-century stage linger in twenty-first century France in subtle but unmistakable ways<br>Thesis (PhD) — Boston College, 2018<br>Submitted to: Boston College. Graduate School of Arts and Sciences<br>Discipline: Romance Languages and Literatures
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White, Claire. "Work and leisure in late nineteenth-century French literature and visual culture." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610774.
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Merwood, Joanna. "Towards the architecture of the future : César Daly and the science of expression." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23202.
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The writing of the French architectural theorist and critic Cesar Daly (1811-1894), editor of the influential Parisian journal, the Revue generale de l'architecture et des travaux publics, may be considered to be representative of the ambivalence of the supposed 19th century dialectic between scientism and metaphysical idealism. For Daly the physical and representational needs of society expressed in architecture were always and forever inextricably linked by the universal and permanent pattern of History. Although it was his fundamental thesis that the human sensibility was more important than any other consideration in the creation of architecture, his theory is paradigmatic of the contemporary ideology which attempted to define and systemise the expressive role of architecture according to rational scientific principles, and resulted in the concept of architecture as a prescriptive and predictive process.<br>Given the separation of architectural form and content, presence and meaning, and the consequent challenge to the possibility of shared experience initiated in the Enlightenment which is still an inherent part of our contemporary architectural thought, it is crucial to re-examine the architectural theory of the 19th century as the origin of the modern condition. This thesis is a critical examination of Daly's collections of polemical articles from the Revue as artifacts of architectural knowledge, through an analysis of their form and content in relation to other significant 19th century architectural texts.
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Kenny, Nicolas. "'Je cherche fortune' : identity, counterculture and profit in fin-de-siècle Montmartre." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79780.
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This thesis examines the countercultural community in the Parisian neighbourhood of Montmartre during the 1880s and 1890s. This period stands out for its unique cultural atmosphere, heavily influenced by the turbulent advent of modernity. Traditionally accepted norms that dictated individuals' sense of identity were being questioned as new understandings of class, gender, sexuality and nationality gained acceptance. Aspiring artists and writers who sought to express these new identities were excluded from the world of official culture. Many congregated in the traditionally bohemian Montmartre where a sense of belonging to a youthful and energetic community afforded the opportunity to struggle and come to terms with their opposition to dominant ideals. Montmartre became, and continues to be, heavily commercialised but its enduring legacy testifies to its significance as herald of numerous social and cultural changes that would mark the twentieth century.
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Roy, Nina Tamara. "Harvest of memories : national identity and primitivism in French and Russian art, 1888-1909." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37827.
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This dissertation analyses the convergence of primitivism and nationalism in late-nineteenth and early-twentieth century French and Russian art. The discourse of primitivism has yielded a number of critical studies focusing on the artistic appropriation of aesthetics derived from "tribal" arts, Asian arts, medieval icons, outsider art, and peasant arts and crafts. Within that scholarship, modern European art that appropriates the aesthetics of folk arts and themes of the peasantry is frequently considered to be representative of national identity and myth. The artistic elucidation of the peasantry as emblematic of national identity combined with their incorporation into primitivism produces a tension that complicates the conventional, binary structure of the discourse. It is therefore necessary to examine artistic expressions of national myth and the peasantry's absorption into the primitivist discourse, as this indicates a critical point at which issues of nationalism and primitivism converge. In the cultural realm, that juncture is located in the artistic idealisation of peasant cultures, which is indicative of a mythical state of being from which national identity could be rearticulated.<br>The myth of the peasantry as developed in nineteenth century European thought centres around the premise that rural populations were an unchanging element of society whose traditional customs, religious beliefs, and modes of production contrasted sharply with the accelerated changes in urban culture. A critical examination of selected paintings by the French artist Paul Gauguin (1848--1903), the Russian Neoprimitivist Natalia Goncharova (1881--1962), and the French Fauve painter Othon Friesz (1879--1949) within their specific, social contexts reveals the ways in which the modern, artistic maintenance of the rural myth elucidates current political and social issues of nationalism. This underscores the peasantry's symbolism within the nation as representative of a national, collective consciousness and ancestry. The peasantry's incorporation into the primitivist discourse and the cultural articulation of the rural myth are revealed in the paintings The Vision After the Sermon (1888), Yellow Christ (1889), Fruit Harvest (1909), and Autumn Work (1908). The paintings and their respective social contexts situate the peasantry both as constructions within the primitivist discourse and symbols of national identity, thereby disrupting the structure of alterity upon which primitivism is predicated.
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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.
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Handa, Satoko. "Saving 'the Age of Innocence' Catholicism, Revolution and representations of childhood in France, 1762-1830 /." Thesis, Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/B41508919.
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Basch, Sophie M. "La crise du philhellénisme ou l'élaboration difficile de l'image de la Grèce moderne chez les voyageurs et écrivains français depuis la création de l'Ecole d'Athènes jusqu'à la guerre civile grecque (1846-1946)." Doctoral thesis, Universite Libre de Bruxelles, 1994. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212660.
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Harrison, Carol Elizabeth. "The esprit d'association and the French bourgeoisie : voluntary societies in eastern France, 1830-1870." Thesis, University of Oxford, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670277.
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Abel, Jonathan 1985. "Jacques-Antoine-Hippolyte, Comte De Guibert: Father of the Grande Armée." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc700071/.
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Jacques-Antoine-Hippolyte, comte de Guibert (1743-1790) dedicated his life and career to creating a new doctrine for the French army. Little about this doctrine was revolutionary. Indeed, Guibert openly decried the anarchy of popular participation in government and looked askance at the early days of the Revolution. Rather, Guibert’s doctrine marked the culmination of an evolutionary process that commenced decades before his time and reached fruition in the Réglement of 1791, which remained in force until the 1830s. Not content with military reform, Guibert demanded a political and social constitution to match. His reforms required these changes, demanding a disciplined, service-oriented society and a functional, rational government to assist his reformed military. He delved deeply, like no other contemporary writer, into the linkages between society, politics, and the military throughout his career and his writings. Guibert exerted an overwhelming influence on military thought across Europe for the next fifty years. His military theories provided the foundation for military reform during the twilight of the Old Regime. The Revolution, which adopted most of Guibert’s doctrine in 1791, continued his work. A new army and way of war based on Guibert’s reforms emerged to defeat France’s major enemies. In Napoleon’s hands, Guibert’s army all but conquered Europe by 1807. As other nations adopted French methods, Guibert’s influence spread across the Continent, reigning supreme until the 1830s. This dissertation adopts a biographical approach to examine Guibert’s life and influence on the creation of the French military system that led to Napoleon’s conquest of Europe. As no such biography exists in Anglophone literature, such a work will fill a crucial gap in understanding French military success to 1807. It examines the period of French military reform from 1760 to the creation and use of Napoleon’s Grande Armée from 1803 to 1807, illustrating the importance of Guibert’s systemic doctrine in the period. Moreover, the work argues that Guibert belongs in the ranks of authors whose works exerted a primary influence on the French Enlightenment and Revolution by establishing Guibert as a “Great Man” of the Republic of Letters between 1770 and his death in 1790.
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Chateau-Dutier, Emmanuel. "Le Conseil des bâtiments civils et l’administration de l’architecture publique en France, dans la première moitié du XIXe siècle." Thesis, Paris, EPHE, 2016. http://www.theses.fr/2016EPHE4068/document.
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À l’issue de la Révolution, la rationalisation de la politique architecturale opérée au moyen d’une centralisation des affaires qui s’appuie sur un découpage administratif très hiérarchique allait permettre, en moins d’un demi-siècle, de fournir aux nouvelles institutions les édifices nécessaires à leur exercice et d’inscrire leur existence symbolique dans le bâti. Comme commission consultative établie auprès du ministre de l’Intérieur en 1795, le Conseil des bâtiments civils fut appelé à se prononcer sur l’ensemble des questions relatives à l’architecture que lui soumettait le ministre. Ses compétences portaient tout autant sur l’examen sous le rapport de l’art de tous les projets d’architecture construits aux frais de l’État que sur des sujets aussi divers que le règlement des honoraires, les alignements de voirie ou la liquidation des sommes dues aux entrepreneurs. Principal outil de la politique architecturale de l’État, le Conseil des bâtiments civils allait être à l’origine d’une pratique encadrée de l’architecture. En commandant l’accès à la commande publique la plus rémunératrice et la plus importante pour la notoriété de l’architecte, et par la normalisation du processus de production architectural, le Conseil et l’administration des bâtiments civils furent à l’origine, selon le mot de Georges Teyssot, d’un véritable « système des bâtiments civils » dont le rôle fut sans doute plus déterminant encore que celui de l’École et de l’Académie des Beaux-Arts dans la première moitié du XIXe siècle<br>At the end of the Revolution, the rationalization of the architectural policy that engendered a centralisation based on a strict hierarchical administrative division would, in less than a century, allow to give to the new institutions the buildings they needed and to inscribe their symbolic existence in the built. As a consultative commission established next to the Interior ministry in 1795, the Conseil des bâtiments civils was called to decide on all architectural matters submitted to it by the Minister. His competences were equally relevant to the examination of all architectural projects built at public expense under the art point of view, or on topics as diverse as the payment of fees, road alignments or liquidation of amounts due to contractors. Main tool of the architectural policy of the State, the Conseil des bâtiments civils would frame the architectural practice. By controlling access to the most lucrative public command and the most determinant for the reputation of the architect, the standardization of architectural production process that the Conseil des bâtiments civils introduced, was a true "system of civil buildings" whose role was probably even more important than that of the École des Beaux Arts or the Académie in the early nineteenth century
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Renard, Margot. "Les images du récit national : illustrer l'Histoire de France entre 1814 et 1848." Thesis, Université Grenoble Alpes (ComUE), 2018. http://www.theses.fr/2018GREAH033.
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Henri IV et son panache blanc, Jeanne d’Arc en armure, Vercingétorix vaincu amené devant César… ces représentations liées à l’histoire de France nous sont aujourd’hui familières. Pourtant leur origine est ancienne : elles apparaissent dès la première moitié du XIXe siècle dans les arts visuels et dans l’historiographie, lorsqu’émerge la vogue de l’histoire, et spécialement de l’histoire nationale. Le médium de l’illustration, alors en plein essor, devient un agent efficace de la création et de la diffusion de représentations liées à l’histoire de France. En effet, les éditeurs en quête de formules éditoriales plus séduisantes commencent à intégrer des illustrations dans les ouvrages historiques savants, lorsqu’une telle association semblait auparavant délicate. Cette thèse se propose donc d’étudier les illustrations produites pour les ouvrages historiques parus entre 1814 et 1848. Les ouvrages historiques illustrés s’adressent à un lectorat de plus en plus large, que nous distinguons en termes de classes sociales (populaire, bourgeois) et d’âges (adultes, enfants). Les discours comme les illustrations tentent donc de s’adapter aux attentes et aux dispositions de ces divers lectorats, ce que nous étudierons dans le premier chapitre. Une part de la vogue pour les ouvrages historiques illustrés vient de ce qu’ils font écho aux préoccupations contemporaines : la question de la fondation de la France en tant que nation, en particulier, soulève de vastes débats. Notre deuxième chapitre examinera donc l’illustration de l’historiographie des périodes considérées comme fondatrices, le haut Moyen-Age et la Révolution française. Enfin, si l’historiographie illustrée de cette période apparaît très francocentrée, certains ouvrages viennent éveiller l’intérêt des lecteurs pour une histoire aux échelles « micro » ou macro », intéressée par l’histoire régionale et par l’histoire transnationale (troisième chapitre). Au fil du temps et des publications illustrées émergent donc des schémas iconographiques récurrents, contribuant à enraciner un récit historique iconotextuel, hybride de texte et d’images, dans l’imaginaire national<br>Which images pop into the minds of Frenchmen when they recall their national history? Henry IV and his white panache, Joan of Arc in her armor, or Vercingétorix and his long hair. Where do these representations come from? How did they develop and with which narrative? This dissertation aims at studying the origins of these images : the spreading of the illustrated historical narrative in France from 1814 to 1848. Indeed, in these years, a true economy of the illustrated history book emerged. These illustrated narratives – these iconotexts – progressively clarified and strengthened a national history in image on which French identity was leaning on. The illustration of history developed interacting with other historical-focused media: theater, panorama, and especially history painting, standing as a model from which to set apart in order to find its own language. Over the course of time and publications, iconotextual patterns established themselves. Therefore, the illustration of history, spread through a larger and larger audience, contributed to the rooting of a national historical narrative into the collective psyche
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Marchand, André. "Opothérapie : émergence et développement d’une technique thérapeutique (France, 1889-1940)." Thesis, Paris, CNAM, 2014. http://www.theses.fr/2015CNAM0980/document.
Full textAbstract:
Lancée par une communication du célèbre professeur Brown-Séquard en 1889 sur les effets de l’auto injection d’un suc testiculaire, l’opothérapie – technique de soin par le suc de glandes – s’inscrit dans la ligne d’une longue tradition de médication animale. Les publications de médecins et de pharmaciens nous ont permis d’établir comment cette nouvelle thérapeutique s’inscrit dans le paysage d’une médecine qui se scientifise au tournant du XIXe-XXe siècles. L’opothérapie, dont le développement est tributaire de l’évolution des connaissances sur les glandes endocrines, se développera grâce aux succès thérapeutiques enregistrés dans les affections thyroïdiennes et gynécologiques et grâce à la mise à la disposition du public de spécialités issues d’une pharmacie qui s’industrialise et qui fournit une médication sous une forme qui permet de s’affranchir d’un geste médical. L’opothérapie, qui se démarque de l’hormonothérapie par l’usage d’objets thérapeutiques naturels mal identifiés qui ont suscité de nombreux débats sur leur composition et leur mode d’action, connaitra son plus grand développement aux alentours de la Première guerre mondiale et persistera, malgré le développement de l’hormonothérapie s’appuyant sur des molécules de synthèse, jusque dans les années 1990<br>Launched by a communication from the famous Professor Brown-Sequard in 1889 on the effects of self-injection of testicular juice, organotherapy – a technique of care using the juice of glands – falls within a long tradition of animal medication. Publications of doctors and pharmacists have allowed us to establish how the new treatment is part of the landscape of medicine that became more scientific at the turn of the nineteenth and twentieth centuries. Opotherapy/Organotherapy, whose development depends on the development of knowledge on the endocrine glands, develops through therapeutic successes in thyroid and gynecological diseases and by making pharmaceuticals produced by industrializing pharmacists which provided medication in a form that eliminates a medical procedure, available to the public. Organotherapy, which stands out from hormone therapy by the use of natural misidentified drugs that have generated a great number of debates on their composition and mode of action, will know its greatest development around the First World War and will persist despite the development of hormone therapy based on synthetic molecules until the 1990s