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Academic literature on the topic 'Montmartre (Paris, France) – History – 19th century'
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Journal articles on the topic "Montmartre (Paris, France) – History – 19th century"
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Freundschuh, Aaron, Jonah D. Levy, Patricia Lorcin, Alexis Spire, Steven Zdatny, Caroline Ford, Minayo Nasiali, George Ross, William Poulin-Deltour, and Kathryn Kleppinger. "Book Reviews." French Politics, Culture & Society 38, no. 1 (March 1, 2020): 129–62. http://dx.doi.org/10.3167/fpcs.2020.380107.
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Nicholas Hewitt, Montmartre: A Cultural History (Liverpool: Liverpool University Press, 2017).David Spector, La Gauche, la droite, et le marché: Histoire d’une idée controversée (XIXe–XXIe siècle) (Paris: Odile Jacob, 2017)Graham M. Jones, Magic’s Reason: An Anthropology of Analogy (Chicago: University of Chicago Press, 2017).Minayo Nasiali, Native to the Republic: Empire, Social Citizenship, and Everyday Life in Marseille since 1945 (Ithaca: Cornell University Press, 2016).Joseph Bohling, The Sober Revolution: Appellation Wine and the Transformation of France (Ithaca and London: Cornell University Press, 2018).Venus Bivar, Organic Resistance: The Struggle over Industrial Farming in Postwar France (Chapel Hill: University of North Carolina Press, 2018).Todd Shepard, Sex, France, and Arab Men, 1962–1979 (Chicago: University of Chicago Press, 2017).Donald Reid, Opening the Gates: The Lip Affair, 1968–1981 (London: Verso, 2018).Bruno Perreau, Queer Theory: The French Response (Stanford, CA: Stanford University Press, 2016).Oana Sabo, The Migrant Canon in Twenty-First-Century France (Lincoln: University of Nebraska Press, 2018).
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Chen, Li. "Roman Law in the Curriculum of the First Chinese Students in England, France, and China." Tijdschrift voor Rechtsgeschiedenis 88, no. 3-4 (December 23, 2020): 532–56. http://dx.doi.org/10.1163/15718190-00880a11.
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Summary This article retraces the beginnings of Roman law studies by Chinese students during the latter part of the 19th century. It relies on archival research in order to piece together the curricula and careers of three pioneering Chinese law students who first came to study law, including Roman law, in England, France, and China. Wu Tingfang’s legal training at an Inn of Court in London, Ma Kié-Tchong’s legal education at the University of Paris and Wang Chung Hui’s study at Peiyang University in Tianjin, all included a more or less in-depth exposure to Roman law. Ma Kié-Tchong’s wrote a thesis on Roman law in Latin. As the first surviving specimen of legal Latin written by a Chinese jurist, his work not only reflects Roman law studies in France in the 19th century, it also sheds light on the level of proficiency in legal Latin which a Chinese scholar could attain.
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Joseph, John E. "Language Pedagogy and Political-Cognitive Autonomy in Mid-19th Century Geneva." Historiographia Linguistica 39, no. 2-3 (November 23, 2012): 259–77. http://dx.doi.org/10.1075/hl.39.2-3.04jos.
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Summary Charles-Louis Longchamp (1802–1874) was the dominant figure in Latin studies in Geneva in the 1850s and 1860s and had a formative influence on the Latin teachers of Ferdinand de Saussure (1857–1913). Longchamp’s work was in the grammaire générale tradition, which, on account of historical anomalies falling out from the Genevese Revolution of 1846 to 1848, was still being taught in Geneva up to the mid-1870s, despite having been put aside in France in the 1830s and 1840s. Longchamp succeeded briefly in getting his Latin grammars onto the school curriculum, replacing those imported from France, which Longchamp argued were making the Genevese mentally indistinguishable from the French, weakening their power to think for themselves and putting their political independence at risk. His own grammars offered “a sort of bulwark against invasion by the foreign mind, a guarantee against annexation”. Longchamp’s pedagogical approach had echoes in Saussure’s teaching of Germanic languages in Paris in the 1880s, and in the ‘stylistics’ of Saussure’s successor Charles Bally (1865–1947).
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Davies, Helen M. "Living with asthma in 19th-century France: The doctor, Armand Trousseau, and the patient, Emile Pereire." Journal of Medical Biography 28, no. 1 (January 26, 2018): 15–23. http://dx.doi.org/10.1177/0967772017741763.
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Major advances in the French medical system following the French Revolution have stimulated a rich historiography of which Michel Foucault’s Naissance de la clinique: une archéologie du regard médical (1963) and Erwin H. Ackerknecht’s Medicine at the Paris Hospital, 1794–1848 (1967) are of lasting significance. Changes in the organisation and structure of hospitals accompanied the development and availability of new medical technologies and procedures and encouraged a more intense study of the aetiology and pathology of disease. Theories about asthma and its treatment profited from this dynamic environment as Classical Greek doctrines about the effect of the humours on bodily imbalance gave way to an increasingly more precise understanding of the nature and cause of asthma. The clinician and teacher, Armand Trousseau (1801–1867), who held the chair of Clinical Medicine at the Hôtel-Dieu in Paris and was himself an asthmatic, promoted new theories about the illness and developed innovative ways of dealing with its effects. Among his patients was the banker and financier, Emile Pereire (1800–1875), a lifelong asthmatic. Based on the Pereire Family Archives (hereafter AFP), the case of Emile Pereire provides a preface to the later case of that other, more famous, asthmatic, Marcel Proust.
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Silvester, Alexander. "Jean Martin Charcot (1825–93) and John Hughlings Jackson (1835–1911): neurology in France and England in the 19th century." Journal of Medical Biography 17, no. 4 (November 2009): 210–13. http://dx.doi.org/10.1258/jmb.2009.009039.
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In 1862 Jean Martin Charcot was appointed Physician at the Salpêtrière Hospital in Paris, and simultaneously John Hughlings Jackson was appointed as assistant physician at the National Hospital for the Paralysed and Epileptic, Queen Square, London. Both men made significant contributions to the development of neurology, many of which remain important to contemporary neurologists. The achievements and the work of Charcot and Hughlings Jackson are considered in the light of their respective localities and medical education, and the structure of hospital institutions and political allegiances are compared in the late 19th century in France and Britain.
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Počs, Kārlis. "A VIEW ON THE HISTORY OF LATVIAN-FRENCH CULTURAL RELATIONS BEFORE WORLD WAR II." Via Latgalica, no. 1 (December 31, 2008): 75. http://dx.doi.org/10.17770/latg2008.1.1598.
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Because of the geographic location of the Latvian and the French nations and of different trends in the development of their histories contacts between them were established relatively late. This in turn slowed down the development of their cultural relations. In this development, we can distinguish two stages: before the formation of the Latvian state (from the second half of the 19th century until 1918), and during the Latvian state until the Soviet occupation (1920–1940). The objective of this paper is to determine the place and the role of the Latvian-French cultural relations in the development of the Latvian culture before World War II. For this purpose, archive materials, memoirs, reference materials and available studies were used. For the main part of the research, the retrospective and historico-genetic methods were mostly used. The descriptive method was mainly used for sorting the material before the main analysis. The analysis of the material revealed that the first contacts of the Latvians with French culture were recorded in the second half of the 19th century via fine arts and French literature translated into Latvian. By the end of the century, these relations became more intense, only to decrease again a little in the beginning of the 20th century, especially in the field of translations of the French belles-lettres. The events of 1905 strengthened Latvian political emigration to France. The emigrants became acquainted with French culture directly, and part of them added French culture to their previous knowledge. The outcome of World War I and the revolution in Russia then shaped the ground for the formation of the Latvian state. This dramatically changed the nature and the intensity of the Latvian-French cultural relations. To the early trends in the cooperation, the sphere of education was added, with French schools in Latvia and Latvian students in France. In the sphere of culture, relations in theater, music and arts were established. It should be noted that also an official introduction of the French into Latvian art began at that time. As a matter of fact, such an introduction had already been started by Karlis Huns, Voldemars Matvejs, and Vilhelms Purvitis, who successfully participated in the Paris art exhibitions before the formation of the Latvian state. In the period of the Latvian state, artists would arrange their personal exhibitions in France, and general shows supported by the state would be arranged. The most notable of them were the following: - In 1928, the Latvian Ministry of Education supported the participation of all Latvian artists’ unions in the exhibition dedicated to the 10th anniversary of the state. General shows were organized in Warsaw, Budapest, Copenhagen, Paris, London, etc. (Jaunākās Ziņas, 1928: Nr. 262, 266); - in the summer of 1935, an exhibition of folk art from the Baltic states, including textiles, clothes, paintings, sculptures, and ceramics was opened in Paris; - the largest exhibition of Latvian artists in Paris took place from January 27 to February 28, 1939, with presidents of both states being in charge of its organization. It can be concluded that the Latvian-French cultural relations were an important factor in the development of Latvian culture, especially in the spheres of fine arts and literature until the Soviet occupation.
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Pisano, Raffaele. "SCIENCE, SOCIETY AND CIVILIZATION IN THE HISTORY OF SCIENCE." Problems of Education in the 21st Century 55, no. 1 (July 10, 2013): 4–10. http://dx.doi.org/10.33225/pec/13.55.04.
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What about science, society and education in the history? In the 19th century Europe the figure of the scientific engineer is emerging. In Paris the Grandes Écoles were founded, where the most distinguished mathematicians of the time taught to students and drew up treaties. and Joseph–Louis Lagrange (1736–1813) and Gaspard Monge (1746–1818) were among the first professors of mathematics at École Polytechnique (1794), a military school for the training of engineers. In 1794 the École Normal of Paris was also born, in 1808, the École normale supérieure Paris was founded, a school that had as its goal the training of teachers of both science and humanities. On this model, with a Napoleonic decree of 1813, it was established the first foundation of the Scuola Normale in Pisa. The attention of the French mathematicians toward applications was therefore, at least in part, due to the need of educational institutions to train technicians for the new state. Such an attitude is not found in Germany, the country that in the nineteenth century was with France at the forefront of European mathematics. On the one hand, great importance was attributed to purely theoretical disciplines, such as number theory and abstract algebra, on the other hand the natural philosophy aim to frame in the same theory at all the physical disciplines. In Germany a great engineering school eventually developed which become dominant in Europe. But interaction between scientists and engineers has existed since ancient times: e.g., for the study of prototypes and machines for the society. Questions might be: when, why and how the tension between mathematics, physics, astronomy, gave rise to a new scientific discipline, the modern engineering? What is the conceptual bridge between sciences researches and the organization of technological researches in the development of the industry?
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Bourdillon, Pierre, Caroline Apra, and Marc Lévêque. "First clinical use of stereotaxy in humans: the key role of x-ray localization discovered by Gaston Contremoulins." Journal of Neurosurgery 128, no. 3 (March 2018): 932–37. http://dx.doi.org/10.3171/2016.11.jns161417.
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Although attempts to develop stereotactic approaches to intracranial surgery started in the late 19th century with Dittmar, Zernov, and more famously, Horsley and Clarke, widespread use of the technique for human brain surgery started in the second part of the 20th century. Remarkably, a significant similar surgical procedure had already been performed in the late 19th century by Gaston Contremoulins in France and has remained unknown. Contremoulins used the principles of modern stereotaxy in association with radiography for the first time, allowing the successful removal of intracranial bullets in 2 patients. This surgical premiere, greatly acknowledged in the popular French newspaper L’Illustration in 1897, received little scientific or governmental interest at the time, as it emanated from a young self-taught scientist without official medical education. This surgical innovation was only made possible financially by popular crowdfunding and, despite widespread military use during World War I, with 37,780 patients having benefited from this technique for intra- or extracranial foreign bodies, it never attracted academic or neurosurgical consideration. The authors of this paper describe the historical context of stereotactic developments and the personal history of Contremoulins, who worked in the department of experimental physiology of the French Academy of Sciences led by Étienne-Jules Marey in Paris, and later devoted himself to radiography and radioprotection. The authors also give precise information about his original stereotactic tool “the bullet finder” (“le chercheur de projectiles”) and its key concepts.
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Fraser Askin, Debbie. "Looking Forward, Looking Back." Neonatal Network 21, no. 5 (August 2002): 81. http://dx.doi.org/10.1891/0730-0832.21.5.81.
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MAJOR MILESTONES SUCH AS birthdays and anniversaries provide us with an opportunity to look back and reflect on what has gone before us. They are also a perfect time to look to the future. This special anniversary issue of Neonatal Network® features many reflections of the past twenty years of neonatal care—although for many of us, our history of caring for babies goes back much farther. Do we start with the opening of the first NICU in 1965, or do our influences reach back much farther to the work of some of the early pioneers in neonatal care? Do we mark our beginnings with the development of the first infant incubator (Stéphane Tarnier, Paris France) in 1878, or with the work of another Parisian, Pierre-Constant Budin who in the late 19th century developed many of the principles that formed the basis of neonatal medicine?
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Fomicheva, Daria Vladimirovna. ""Picturesque graphics": three pencil technique, multi-layered charcoal drawing." Secreta Artis, no. 1 (July 11, 2021): 16–46. http://dx.doi.org/10.51236/2618-7140-2021-4-1-16-46.
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The article describes methods of achieving painterly qualities while drawing with soft materials, which include: 1) creation of a polychrome image effect using an extremely limited color palette (white, black and red chalk (sanguine)); 2) thorough work on a multi-layer charcoal drawing employing techniques similar to those of multi-layer watercolor, oil and pastel painting, as well as papier-pelle drawing. The study was first conducted by analyzing drawing manuals, catalogs of manufacturers and suppliers of art materials from France, Great Britain, Germany, USA and Russian Empire in the second half of the 19th – early 20th century. What is more, the author of the article assembled a collection of antique tools and materials for drawing with charcoal, black chalk or crayon, stumping chalk (pulverized charcoal), sanguine and white chalk, the use of which was widespread in the aforementioned period. The annex to the article provides photographs of the described instruments and materials accompanied by the aggregate data from art manuals, catalogs and price lists of drawing material suppliers from London, Paris, New York, St. Petersburg, Moscow and Kazan, published over a period from 1851 to 1913. The drawing tradition of the second half of the 19th century is among one of the most complex and challenging in the entire history of graphics, as it peculiarly combines in itself a variety of instruments and delicate thoroughness of techniques. As a result of the research, the author was able to expand and complement the existing knowledge about graphic techniques, which allows for teaching academic drawing and studying the history of drawing by applying new data and unique illustrative material.
Dissertations / Theses on the topic "Montmartre (Paris, France) – History – 19th century"
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Collins, John 1957. "Seeking l’esprit gaulois : Renoir’s Bal du Moulin de la Galette and aspects of French social history and popular culture." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=104371.
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This thesis examines the years bracketing the summer of 1876, when Renoir was a resident on the Butte Montmartre and executed the Bal du Moulin de la Galette . The social and historical resonances of Renoir's work during this period are investigated, including his engagement with themes prevalent in French popular lithography and vaudeville theatre. While Bal du Moulin de la Galette is an ubiquitous image of the Impressionist movement, it is little studied as a site of potential symbolic meaning, especially following the period of the Franco-Prussian war and the Commune between 1870-71. Through archival research and a reevaluation of secondary sources a clear relationship is established between Renoir, Republican politics and French literature, particularly the Parnassian movement in poetry.Cette thèse examine les années avant et après de l’été de 1876, quand Renoir habitait sur la Butte Montmartre et a exécuté le Bal du Moulin de la Galette. Ces années dans la carrière de Renoir sont choisi à examiner plus profondément des résonances historiques et sociales de cette oeuvre, y compris l’engagement de Renoir avec les thèmes de la lithographie populaire et les vaudevilles. Tandis que le Bal du Moulin de la Galette est très bien connu dans la contexte de l’impressionnisme, le tableau lui-même est peu étudié comme document de son époque dans la période suivante la Guerre et la Commune entre 1870-71. Au moyen de l’étude des sources archivales et secondaires, un rapport est établi entre Renoir, la politique Républicaine et la littérature fran;aise, particulièrement avec le mouvement parnassien en poésie.
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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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Osborne, Jane. "An investigation of the romantic ballet in its sociocultural context in Paris and London, 1830 to 1850." Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1002028.
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Historians have made a considerable contribution to the study of the Romantic ballet in terms of chronological development, the Romantic movement in the arts and the contribution of specific dancers and choreographers; very little research has been attempted to date on the interrelationship between the dance form and the wide range of human experience of the period. This holistic approach provides insight into form, content and stagecraft; political, economic and social influences; the prevailing artistic aesthetic and cultural climate; sex, gender and class issues; and the priorities, value system and nuances of the times. Recent work by historians and social scientists (eg Brinson 1981, Adshead 1983, Spencer 1985, Hanna 1988, Garafola 1989) advocates a recognition of the role of social and cultural systems in the evaluation of dance. This approach further ackowledges the equal status of all cultures, and has opened up areas of African performing dance in cultural systems outside the west. My parallel investigation of the gumboot dance in its South African context, which appears in Appendix B, provides an example. The first half of the nineteenth century was characterized by the disruptive beginnings of the emergent industrial world, centred in Paris and London; and the Romantic ballet tradition reached its greatest heights at this time. Chapter one establishes the political, economic, social and artistic environment, and identifies middle class dominance as a key factor. Chapters two and three focus primarily on the three great ballets of the age, La Sylphide, 1832, Giselie, 1841, and Pas de Quatre, 1845, as expressions of the essential duality of the times, and of Romantic synaesthesia in the arts, which enabled them to transcend the pedestrian bourgeois materialism of faciliatators and audience. Chapter four examines the images of the idealized ballerina and the 'Victorian' middle class woman in relation to bourgeois male attitudes to female sexuality, gender and class. The conclusion sums up the themes of duality, middle class influence, and the Romantic aesthetic, and discusses the prevalent notion that this period was identified as a 'golden age' of the Romantic ballet.
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Frondizi, Alexandre. "Paris au-delà de Paris : urbanisation et révolution dans l’outre-octroi populaire, 1789-1860." Thesis, Paris, Institut d'études politiques, 2018. http://www.theses.fr/2018IEPP0044.
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Cette recherche entend revisiter l’histoire du Paris populaire du XIXe siècle par une appréhension locale et grand-parisienne des rapports entre urbanisation et révolution. L’exploration du cas de la fabrique socio-politique du quartier chapello-montmartrois de la butte des Moulins montre comment, en s’appuyant parfois illégalement sur des réformes fiscales, territoriales, foncières et financières de la fin du siècle précédent, des Parisiens de naissance et d’adoption construisent à partir des années 1820 la capitale des révolutions également hors de ses limites administratives. Tout en érigeant cet espace social en quartier d’une République insurgeante grand-parisienne, l’année 1848 révèle que, au lieu d’exprimer la longue crise d’une ville atone face à son impressionnante croissance démographique, les journées de Juin manifestent le succès d’une révolution urbaine silencieuse. Le succès d’une urbanisation qui, par la voie inédite des lotissements populaires par lesquels, avec la complicité puis le soutien des autorités locales, des promoteurs projettent efficacement leur ville au-delà d’elle-même, permet à une multitude de familles et d’individus d’origine majoritairement ouvrière de se loger à moindre coût dans des immeubles que des lotis au profil social similaire élèvent sur les terrains notamment acquis grâce au dynamique marché du crédit immobilier interpersonnel. En barricadant leur quartier et en descendant dans la vieille ville pour défendre avec leurs frères de l’intra-muros l’idéal de démocratie sociale de proximité qu’ils investissent dans les institutions républicaines localistes, ces Parisiens de l’outre-octroi transforment dès 1848 la butte des Moulins en l’un des Aventins de leur agglomération. L’analyse multiscalaire des pratiques et des itinéraires socio-spatiaux des bâtisseurs du quartier dévoile en définitive la précocité de la formation d’un Grand Paris populaire dont les voisins de certaines de ses marges urbaines n’attendent point les effets ségrégatifs de l’haussmannisation pour revendiquer leur appartenance à la capitale des révolutionsThis dissertation seeks to revisit Parisian popular history in the 19th century through a local and greater Parisian understanding of the relationship between urbanization and revolution. The exploration of the case of the socio-political construction of the suburban neighborhood of the butte des Moulins shows how, after the 1820s, Parisians of birth and adoption built the capital of revolutions outside of its administrative limits. While 1848 established this social space as a neighborhood of an insurgent greater-Parisian Republic, it also revealed that instead of expressing the long crisis of a city that was apathetic when facing its impressive demographic growth, the Days of June manifested the success of a silent urban revolution. The success of an urbanization that occurred through the unprecedented channel of popular subdivisions where real estate promoters projected their city beyond the city wall with the complicity and then the support of local authorities. This allowed a multitude of mostly working-class families and individuals to find cheaper housing than buyers with a similar social profile built on the lots acquired through the interpersonal mortgage market. In 1848, these suburban Parisians barricaded their neighborhood and descended into the old city to defend with their brothers the social democratic ideal of proximity that they gave to republican institutions, thus transforming the butte des Moulins into one of the Aventine hills of their city. The multi-scale analysis of the practices and socio-spatial itineraries of the builders of this neighborhood reveals the precocity of the formation of a popular Greater Paris, where the residents of certain urban margins did not wait for the segregative effects of Haussmanization to claim their belonging to the capital of revolutions
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Heizer, Alda Lucia. "Observar o ceu e medir a terra : instrumentos cientificos e a participação do Imperio do Brasil na Exposição de Paris de 1889." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/287043.
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Orientador : Maria Margaret LopesTese (doutorado) - Universidade Estadual de Campinas, Instituto de Geociencias
Made available in DSpace on 2018-08-04T02:34:20Z (GMT). No. of bitstreams: 1 Heizer_AldaLucia_D.pdf: 6141642 bytes, checksum: 0983ba3a2e79903ed8c65ba8fac199e2 (MD5) Previous issue date: 2005
Resumo: A presente pesquisa tem por finalidade contribuir para a História das Grandes Exposições da segunda metade do século XIX, sublinhando a participação do Império do Brasil nesses grandes eventos, em particular na Exposição Universal de Paris de 1889. Consideramos possível, ao analisar os catálogos de instrumentos científicos, relatórios, memórias, revistas científicas, entre outras fontes, identificar pistas que nos revelam que o Império do Brasil pretendia desfazer a imagem de flor exótica nos trópicos. A partir da constatação de que os trabalhos acadêmicos realizados no Brasil sobre estes grandes eventos, dos anos de 1980 para cá, não se ocuparam da participação dos países da América Latina, este trabalho pretende se desenvolver na confluência de linhas de pesquisa que, embora plenamente articuláveis, permanecem, até hoje, em grande parte dissociadas na produção historiográfica nacional. Trata-se de pesquisas em História das Exposições Universais e a História dos Instrumentos Científicos
Abstract: This present research has the purpose to contribute for the history of the Great Expositions of the second half of the XIX century, underlining the participation of the Brazilian Empire on these events, in particular in the Paris Universal Exposition in 1889. We found it possible, when analyzing the scientific instrument¿s catalogues, reports, memories, scientific magazines, among other sources, to identify tracks that reveal to us that the Brazilian Empire intended to appear under the image of the ¿Exotic flower of the tropics¿. After discover that the academic works that were made in Brazil about these great events, from 1980 until today, disregard the participation of the Latin American countries, this work intend to be developed in the confluence of the lines of research , although they can be articulated, remains until today dissociated in the national history production. It¿s about research on the history of the Great Universal Expositions and the History of Scientific Instruments
Doutorado
Doutor em Ensino e História de Ciências da Terra
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Bronfman, Beverly. "Gavarni and the Opéra Masked Ball." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=55817.
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The theme of the parisian Carnival masked balls at the Opéra became synonymous with the nineteenth-century French graphic artist Guillaume Sulpice Chevalier, known as Gavarni (1804-1866). Between 1830 and 1853, he produced more than two hundred lithographs of the subject, which usually appeared in the contemporary popular press. These depictions and their telling captions--snippets of actual conversations--evoke the essential esprit of the occasion. A compelling visual chronicle emerges from Gavarni's imagery of the Opéra masked halls, which uniquely captures the contemporary manners and mores of Parisian society. This dissertation is a close visual analysis of Gavarni's treatment of the phenomenon, which draws upon contemporary literary accounts to substantiate and elucidate the meanings of his prints.Le thème des bals masqués de l'Opéra est intimement lié au peintre et graveur français du XIXe siècle Guillaume Sulpice Chevalier, dit Gavarni (1804-1866). Entre 1830 et 1853, celui-ci a produit plus de deux cents lithographies sur ce sujet, dont la majorité ont été publiées dans la presse populaire de l'époque. Ces scènes et les légendes qui les accompagnent--bribes de conversations réelles-évoquent l'esprit des bals. Chronique visuelle irrésistible, ces gravures dépeignent les moeurs et les manières de la société parisienne de l'époque. La présente thèse propose une analyse visuelle rigoureux du traitement de ce phénomène par Gavarni qui s'appuyer sur des témoignages littéraires contemporains pour élucider le sens de ses gravures. fr
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Siegel, Suzie. "Safe at home [electronic resource] : agoraphobia and the discourse on women's place / by Suzie Siegel." University of South Florida, 2002. http://purl.fcla.edu/fcla/etd/SFE0000025.
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Title from PDF of title page.Document formatted into pages; contains 90 pages.
Thesis (M.A.)--University of South Florida, 2001.
Includes bibliographical references.
Text (Electronic thesis) in PDF format.
ABSTRACT: My thesis explores how discourse and material practices have created agoraphobia, the fear of public places. This psychological disorder predominates among women. Throughout much of Western history, women have been encouraged to stay home for their safety and for the safety of society. I argue that agoraphobic women have internalized this discourse, expressing fears of being in public or being alone without a companion to support and protect them; losing control over their minds or their bodies; and endangering or humiliating themselves. Therapeutic discourse also has created agoraphobia by naming it, categorizing the emotions and behaviors associated with it, and describing the characteristics of agoraphobics.
The material practice of therapy reinforces this discourse. Meanwhile, practices such as rape and harassment reinforce the dominant discourse on women&softsign;s safety. I survey psychological literature, beginning with the naming of agoraphobia in 1871, to explain why the disorder is now diagnosed primarily in women. I examine nineteenth-century discourse that told women they belonged at home while men controlled the public domain. In 1871, the Paris Commune revolt epitomized the fear of women publicly out of control. I return to Paris a century later for a reading of the novel Certificate of Absence, in which Sylvia Molloy explores identity through the eyes of a woman who might be labeled agoraphobic.
I ask whether homebound women are resisting or retreating from a hostile world. Instead of seeing agoraphobia only as a personal problem, people should question why so many women fear themselves and the world outside their home.My methodology includes an analysis of nineteenth-century texts as well as current media, prose, and poetry. I also support my arguments with material from professional journals and nonfiction books in different disciplines. Common to feminist research, an interdisciplinary approach was needed to situate a psychological disorder within a social context.
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Dessy, Clément. "Les écrivains devant le défi nabi: positions, pratiques d'écriture et influences." Doctoral thesis, Universite Libre de Bruxelles, 2011. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209795.
Full textAbstract:
En 1888, une communauté de peintres s’associe sous l’appellation « Nabis ». Ce terme, issu de l’hébreu, signifie à la fois les « prophètes » et les « initiés ». Paul Sérusier qui vécut sa rencontre avec Paul Gauguin comme une révélation est à l’origine de la formation du groupe. Une année auparavant, le symbolisme littéraire triomphe en France et suscite l’émulation parmi une nouvelle génération d’écrivains qui se cristallise autour de /La Revue Blanche/ et le /Mercure de France/. Entre les Nabis et les symbolistes s’établit dès lors un intense réseau de collaborations. Tant dans l’élaboration des décors et programmes du Théâtre de l’œuvre de Lugné-Poe que dans l’illustration d’ouvrages d’André Gide, d’Alfred Jarry ou encore de Jules Renard, les Nabis participent activement à la vie littéraire de leur temps tout en s’incarnant volontairement comme une avant-garde picturale. Les échanges nombreux entre peintres et écrivains sont alors loin de se limiter à de simples commandes. Ils aboutissent souvent à des amitiés durables comme celles qui unirent Gide à Maurice Denis et Jarry à Pierre Bonnard. La recherche s’interroge sur la motivation de cette nouvelle génération d’écrivains qui sollicita le groupe nabi, ainsi que sur la nature des projets qui les unirent. Les revues littéraires occupent une place importante dans le rassemblement entre les écrivains et ce groupe de peintres. La volonté d'identifier une aile picturale qui fasse écho dans le champ artistique au désir d'innover dans le champ littéraire stimule les sollicitations des écrivains de la seconde génération symboliste. Les Nabis, qui se méfient toutefois d'une soumission trop grande au fait littéraire, induisent par leurs développements artistiques et leurs théories les paramètres d'une nouvelle relation entre peintres et écrivains dans laquelle ces derniers ne recherchent plus la domination stratégique de l'art littéraire sur la peinture.Outre ces considérations historiques, le rapprochement souhaité entre les deux groupes fut tel que la production littéraire ne put qu’être influencée par les théories des Nabis. La tendance "formaliste" représentée par ce groupe pictural a souvent conduit les chercheurs à prendre acte de l'autonomie tant du littéraire que du pictural dans les échanges entre Nabis et écrivains. Les influences sont cependant nombreuses de la peinture vers la littérature. Il est toutefois nécessaire de prendre en compte des écrivains oubliés par l'histoire littéraire, tels Romain Coolus, Gabriel Trarieux ou Louis Lormel, pour percevoir les effets de cette influence picturale. La reprise d'un dispositif de couleurs, exaltées ou déformées, le jeu poétique sur le thème de la ligne ou de l'arabesque fondent une recherche d'effet visuel dans l'écriture qui entend renouveler les images poétiques. Ce constat entre en résonance avec la rénovation picturale revendiquée par les Nabis. Des esthétiques communes entre peintres et écrivains, tournant autour des notions de synthèse, simplicité, de la référence à l'enfance ou à la fantaisie humoristique rassemblent Nabis et poètes qui les soutiennent dans une communauté d'initiés à l'art nouveau.
Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished
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Aubé, Carole. "La naissance du Sentier : l'espace du commerce des tissus à Paris dans la première moitié du XIXe siècle." Thesis, Paris, EHESS, 2017. http://www.theses.fr/2017EHES0168/document.
Full textAbstract:
Situé en plein cœur de Paris, le Sentier reconnu depuis la seconde moitié du XXe siècle comme le centre le plus actif du commerce international des tissus, s’est construit dans la continuité d’un ‘’Sentier ancien ‘’ qui trouve ses origines dans la première moitié du XIXe siècle. En nous appuyant sur les Almanachs du Commerce de Paris pour reconstruire l’infrastructure économique de cet espace, nous avons pu mettre en évidence les caractéristiques de cet ensemble originaire et plus particulièrement la croissante centralité du quartier Montmartre dans le commerce des tissus. Placé à la lisière des grands boulevards et des lieux de la « nouvelle modernité » parisienne, ce quartier était le véritable noyau central du commerce des tissus en gros, animé par un négoce important et solidement implanté dans les rues du Sentier, Saint-Fiacre et des Jeûneurs. Il s’agit prioritairement, au début du siècle, du commerce des articles de toiles de coton et des châles, rejoints à partir des années 1830, par la vente de dentelles, de tissus mérinos et de tissus de nouveautés.Dans notre recherche pour saisir l’ensemble des éléments à l’œuvre dans la construction identitaire de cet espace original, l’exploitation de diverses sources, telles que les sources cadastrales, la composition des listes électorales ou les archives notariales, nous ont permis de restituer une image précise de ces dynamiques, de dégager l’importance de cette sphère professionnelle et ses multiples conséquences sur l’espace physique et social de ce quartierLocated in the very heart of Paris, the SENTIER which prevails in the second half of the 19th century as the most active center of the business of international trade of fabrics, built itself in the continuity of a " former SENTIER " which has its origins in the first half of the 19th century. Relying on the Almanachs of the Trade of Paris to reconstruct the economic infrastructure of this space, we were able to highlight the characteristics of this first socio-economic group and the increasing centrality of the Montmartre neighborhood in the trade of fabrics. Located at the edge of the places of the "new Parisian modernity ", this district became the central point of the wholesale fabrics trade, led by an important trade firmly established in the streets of the Sentier, Saint Fiacre and Jeuneurs. It mainly concerns, at the beginning of the century, the trade of articles of cotton cloths and shawls, joined from 1830s, by the sale of laces, merino fabrics and fashionable fabrics. In our search to seize all the elements in action in the identity construction of this original space, the exploitation of diverse sources, such as the cadastral sources, the composition of electoral rolls or the notarial archives, allowed us to restore a precise image of these dynamics to express the importance of this professional sphere and its multiple consequences on the physical and social space of this district
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Seniuta, Isabella. "Histoire du Eye Club : les valeurs de la photographie : Paris-New York (1960-1989)." Thesis, Paris 1, 2020. http://www.theses.fr/2020PA01H004.
Full textAbstract:
Cette thèse s’interroge sur l’invention d’une formule : The Eye Club. Inventée par l’historienne américaine Eugenia Parry, elle désigne un regroupement actif dans les années 1960-1990 composé de : Pierre Apraxine, Hugues Autexier, François Braunschweig, Françoise Heilbrun, André Jammes, Gérard Lévy, Harry Lunn, Philippe Néagu, Alain Paviot, Richard Pare, Sam Wagstaff et Robert Mapplethorpe. Ces douze figures vivent entre la France et les États-Unis et sont rattachées par plusieurs facteurs culturels et temporels. Ce «club» n’est pas à proprement parler un cercle de sociabilités, c’est une constellation, une nébuleuse faite de positionnements culturels épars et de projets artistiques divers. La question principale qui a guidé cette enquête est la suivante : en quoi ce Eye Club et ses acteurs, pris individuellement, ont-t-ils contribué à réévaluer la valeur commerciale, esthétique et institutionnelle, de la photographie dans les années 1960-1990 entre Paris et New York ? La chronologie démarre avec les engagements d’André Jammes dans le monde de la photographie au tournant des années 1960 et se termine en 1989, l’année de la mort de Mapplethorpe. L’enquête réalisée dans les archives et auprès des acteurs a fait émerger des noms connus, et d’autres, qui sont demeurés dans les coulisses de l’histoire. Cette étude se propose de lever le voile sur un réseau interdépendant d’acteurs, dont les intérêts communs pour la photographie ont permis de créer le marché de la photographie, tel que nous le connaissons aujourd’hui, et son institutionnalisation. Le premier volume de la thèse propose, dans une perspective transatlantique, une réflexion sur ce regroupement à partir des images et des correspondances. Le second volume rassemble vingt-quatre entretiens réalisés au cours des cinq années de recherche. D’abord avec les figures du Eye Club (Pierre Apraxine, Françoise Heilbrun, Richard Pare et Alain Paviot), puis avec les familles des acteurs du Eye Club et enfin avec diverses personnalités du monde photographique (Frish Brandt, Peter Bunnell, Denis Canguilhem, Sylviane De Decker, Viviane Esders, Patrick Faigenbaum, Philippe Garner, Maria Morris Hambourg, Susan Kismaric, Hans Peter Kraus Jr., Harold Jones, Baudoin Lebon, Eugenia Parry, Françoise Reynaud, Samia Saouma et Daniel Wolf). Ensemble, les deux volumes esquissent une histoire de rencontres entre des passionnés de photographie qui s’est principalement articulée sous une forme orale entre la France et les États-Unis dans les années 1960-1980This thesis questions the invention of a phrase : The Eye Club. Invented by the American historian Eugenia Parry, it has been designating a grouping active in the 1960s-1980s composed of : Pierre Apraxine, Hugues Autexier, François Braunschweig, Françoise Heilbrun, André Jammes, Gérard Lévy, Harry Lunn, Philippe Néagu, Alain Paviot, Richard Pare, Sam Wagstaff and Robert Mapplethorpe. These twelve characters lived between France and the United States and are connected and related by several cultural and temporal factors. This grouping is not, strictly speaking, a circle of sociability, it is rather a constellation or a nebula made of scattered cultural positions and diverse artistic projects. The main question that guided this survey is the following: in what way does the Eye Club and its individual actors contributed to the re-evaluation of the commercial, aesthetic and institutional value of photography between the early 1960s and the late 1990s among Paris and New York ? The chronology begins with André Jammes' involvement in the world of photography and ends in 1989, the year of Mapplethorpe's death. An inquiry of archives and key players has brought to light some well-known names, and others that remained in the shadow of history. This study aims at unveiling an interdependent network of actors, whose common interests in photography have made it possible to establish, in one generation, the photography market as we know it today. The first volume of the thesis offers, from a transatlantic perspective; an investigation and analysis of this based on photographs and correspondences. The second volume brings together twenty-four interviews conducted over my five years of doctoral research. First with the main protagonists of The Eye Club (Pierre Apraxine, Françoise Heilbrun, Richard Pare and Alain Paviot), then with the families of The Eye Club and finally with various personalities from the world of photography (Frish Brandt, Peter Bunnell, Denis Canguilhem, Sylviane De Decker, Viviane Esders, Patrick Faigenbaum, Philippe Garner, Maria Morris Hamburg, Susan Kismaric, Hans Peter Kraus Jr, Harold Jones, Baudoin Lebon, Eugenia Parry, Françoise Reynaud, Samia Saouma and Daniel Wolf). Together, the two volumes sketch a history of encounters between photography enthusiasts that has, up to now, been mainly articulated in oral form between France and the United States in the 1960s and 1980s
Books on the topic "Montmartre (Paris, France) – History – 19th century"
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Kudlick, Catherine Jean. Cholera in post-revolutionary Paris: A cultural history. Berkeley: University of California Press, 1996.
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2
Santa Barbara Museum of Art., ed. Le Chat noir: A Montmartre cabaret and its artists in turn-of-the century Paris. Santa Barbara, CA: Santa Barbara Museum of Art, 1993.
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3
Medical muses: Hysteria in nineteenth-century Paris. New York: W.W. Norton & Co., 2011.
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4
Garb, Tamar. Sisters of the brush: Women's artistic culture in late nineteenth-century Paris. New Haven: Yale University Press, 1994.
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5
Gluck, Mary. Popular Bohemia: Modernism and urban culture in nineteenth-century Paris. Cambridge, Mass: Harvard University Press, 2005.
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Popular Bohemia: Modernism and urban culture in nineteenth-century Paris. Cambridge, MA: Harvard University Press, 2004.
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Jordan, David P. Transforming Paris: The life and labors of Baron Haussmann. Chicago: University of Chicago Press, 1996.
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Transforming Paris: The life and labors of Baron Haussmann. New York: Free Press, 1995.
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Paris as revolution: Writing the nineteenth-century city. Berkeley: University of California Press, 1994.
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Spectacular realities: Early mass culture in fin-de-siècle Paris. Berkeley: University of California Press, 1998.
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