Journal articles: 'Notre-Dame de Reims (Cathedral)'

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Kirchwey, Karl W. "Mutabor: Cathedral of Notre Dame." Literary Imagination 21, no. 3 (July 11, 2019): 260–63. http://dx.doi.org/10.1093/litimag/imz027.

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Hanussek, Benjamin. "Ubisoft’s Notre-Dame." Loading 16, no. 26 (May 9, 2024): 1–15. http://dx.doi.org/10.7202/1111257ar.

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<p>In 2019, the Notre-Dame de Paris was devastated by a fire. The importance of the Notre-Dame as world heritage was underlined by the countless contributions, donations and solidarity all around the world that pledged to help to rebuild the cathedral. Among all contributions Ubisoft’s idea to offer its game Assassin's Creed: Unity for free to the public was arguably most celebrated as innovative and creative measure to secure heritage in case of its destruction. This case opens up new perspectives and roles of heritage management as also the development and distribution of video games in the twenty first century. The case of Ubisoft’s Notre-Dame is discussed in this paper under a comparative analysis to the game Never Alone and a critical inquiry towards the benefits, consequences and repercussions of the growing importance of synchronising heritage protection with video game production. Also, the perceptive aspect of connecting to heritage as player through a game and its spatial aspects will be explained under Chapman’s concept of narrative gardens.</p>

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Witcher, T. R. "Still Standing: Cathedral Notre-Dame de Paris." Civil Engineering Magazine Archive 89, no. 6 (June 2019): 44–47. http://dx.doi.org/10.1061/ciegag.0001398.

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Heyman, Jacques. "Viewpoint: The fire at Notre-Dame cathedral." Structural Engineer 97, no. 7 (July 1, 2019): 35–37. http://dx.doi.org/10.56330/ayjc9569.

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Following the recent fire at Notre-Dame de Paris, Professor Jacques Heyman discusses the construction of the cathedral and considers some of the questions that will arise in agreeing an approach to repair.

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Artemyeva, Tatyana, and Varvara Gerasenkova. "Notre-Dame de Paris through the centuries." Innovative Project 9, no. 15 (June 5, 2024): 6–10. http://dx.doi.org/10.17673/ip.2024.9.15.1.

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The article examines the significance of stylistic changes in the architecture of Notre Dame Cathedral over the course of centuries of history, the events associated with these changes, and their consideration through the prism of modern legislation on the preservation of cultural heritage.

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Fagerberg, David W. "Was the Cathedral of Notre Dame a Megachurch?" Pro Ecclesia: A Journal of Catholic and Evangelical Theology 6, no. 2 (May 1997): 141–45. http://dx.doi.org/10.1177/106385129700600203.

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Gallet, Yves. "Après l’incendie. Notre-Dame de Paris : bilan, réflexions, perspectives." Bulletin Monumental 177, no. 3 (2019): 211–18. http://dx.doi.org/10.3406/bulmo.2019.13750.

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The conflagration on 15 April 2019 was the worst catastrophe suffered by the Cathedral of Notre-Dame de Paris since its construction in the twelfth century. Because of the immense fame of the monument, the emotion shook the planet. Commentaries and rumors proliferated, sometimes to the detriment of properly verified information, and all this well before the results of the police inquest into the causes, the extent of the damage, and the state of the monument were rendered public, as well as the place of the cathedral in the history of Gothic art and the range of solutions possible for the replacement of the timberwork, etc. It has been deemed essential that for the readers of the Bulletin monumental a judicious state of the question be given concerning what was destroyed by the fire, the current state of the masonry, and the perspectives and challenges that face both those responsible for the reconstruction and scholars who will deal with the cathedral in the future.

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Lassak, Marshall. "Mathematical Lens: Cathédrale Notre-Dame de Strasbourg, Strasbourg, France." Mathematics Teacher 101, no. 2 (September 2007): 99–101. http://dx.doi.org/10.5951/mt.101.2.0099.

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Van Liefferinge, Stefaan. "The Hemicycle of Notre-Dame of Paris: Gothic Design and Geometrical Knowledge in the Twelfth Century." Journal of the Society of Architectural Historians 69, no. 4 (December 1, 2010): 490–507. http://dx.doi.org/10.1525/jsah.2010.69.4.490.

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The Hemicycle of Notre-Dame of Paris: Gothic Design and Geometrical Knowledge in the Twelfth Century analyzes how the layout of four plinths in the hemicycle of Notre-Dame of Paris reflects the state of mathematical knowledge at the time of the first construction phases of the cathedral in the early 1160s. During the first half of the twelfth century, building enterprise was paired with intellectual activity in Paris, where architects experimented with a new building style——Gothic——and scholars explained geometry in treatises. Stefaan Van Liefferinge reconstructs the mathematics used by the Gothic builders at Notre-Dame, notes its resemblance to the geometry of the Parisian scholars, and suggests that this similarity points to either the exchange of knowledge or a common origin.

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Arnould, Jacques. "Cathedral Builders: Remembering Notre Dame and St. Thomas Aquinas." Theology and Science 17, no. 3 (July 3, 2019): 291. http://dx.doi.org/10.1080/14746700.2019.1632504.

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Pruden, Meredith L. "For Whom the Bell Tolls: Memeing French Landscape on Instagram." Vista, no. 5 (December 31, 2019): 149–70. http://dx.doi.org/10.21814/vista.3044.

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On the evening of April 15, 2019, hoary plumes of smoke erupted from Notre-Dame Cathedral and rolled across the rooftops of the Ile de la Cité in Paris, France. World leaders expressed their condolences over the loss, and many experts publicly warned that, though it can be rebuilt, the 12th-century monument to Catholicism will never “be the same”. By the end of the next day, cathedral bells tolled across the city in honor of the devastating fire and hundreds of millions in euros already had been pledged, with the uber-wealthy leading the way. In the days that followed the fire, the fire and fundraising efforts garnered a veritable tempest of media coverage and ignited a social media fervor. The hashtag #NotreDameFire trended on Twitter, spread virally across Facebook and, to date, has garnered almost 22,000 posts on Instagram. Much of this online popular discourse has not been as kind and can be read as a form of political struggle around the meaning and identity of Notre-Dame waged on the digital archive of Instagram. This article examines the #NotreDameFire hashtag on Instagram, reading the associated visuals through the framework set out by Cara A. Finnegan in Making Photography Matter: A Viewer’s History from the Civil War to the Great Depression. It considers Finnegan’s presence, character, appropriation and magnitude in the context of Instagram as an archive of, in this case, both site and sight of one imperial landscape — Notre-Dame Cathedral.

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GROSS, GUILLAUME. "Organum at Notre-Dame in the twelfth and thirteenth centuries: rhetoric in words and music." Plainsong and Medieval Music 15, no. 2 (August 30, 2006): 87–108. http://dx.doi.org/10.1017/s0961137106000349.

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This article investigates the methods of elaboration used in making organum at the cathedral of Notre-Dame in Paris during the twelfth and thirteenth centuries. Its aim is to show how and why tripla and quadrupla came to be composed as an expression of their cultural context and to investigate conditions determining the elaboration of these virtuosic pieces destined for the celebration of the greatest feasts in the new cathedral.

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Paszkowski, Zbigniew W., and Magdalena Balcerzak. "FIRE PROTECTION IN RELIGIOUS MONUMENTS: ON THE EXAMPLE OF NOTRE-DAME DE PARIS AND THE CATHEDRAL OF ST. PETER AND ST. PAUL IN NANTES, FRANCE." Space&FORM 2023, no. 54 (June 22, 2023): 7–30. http://dx.doi.org/10.21005/pif.2023.54.b-01.

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The cases of the fires of Notre-Dame in Paris and St Peter and St Paul in Nantes present the effects of the gradual neglect of monument conservation and their impact on a decrease in safety. The causes and consequences of the fires were described. Differences in the methods of technical protection and reconstruction after a fire have been specified. It was reported that in the Cathedral in Nantes, the wooden truss was replaced with a concrete one, whereas in Notre-Dame the original truss will be recreated. The need to select fire protection and reconstruction methods on a case-bycase basis and use comprehensive fire-resistance systems was indicated.

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Katz, Brian F., Barteld N. Postma, David Poirier-Quinot, and Julie Meyer. "Experience with a virtual reality auralization of Notre-Dame Cathedral." Journal of the Acoustical Society of America 141, no. 5 (May 2017): 3454. http://dx.doi.org/10.1121/1.4987161.

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Roussel, R., and L. De Luca. "AN APPROACH TO BUILD A COMPLETE DIGITAL REPORT OF THE NOTRE DAME CATHEDRAL AFTER THE FIRE, USING THE AIOLI PLATFORM." International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLVIII-M-2-2023 (June 26, 2023): 1359–65. http://dx.doi.org/10.5194/isprs-archives-xlviii-m-2-2023-1359-2023.

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Abstract. With the development of digital technologies in the documentation methods for cultural and architectural heritage, platforms and tools have emerged as solutions to collect, manage and produce data for multidisciplinary monitoring and studying purposes. In the context of an incident such as the fire of the Notre-Dame de Paris in April 2019, the considerable mobilization of the architects, scientists and researchers, has led the "digital data" working group to conceive a digital ecosystem capable to collect and integrate existing data, produce new data, share and archive, and finally structure and semantically enrich. One of the particular aspects of this works involves an approach to build a complete digital report of the Notre-Dame de Paris cathedral. With the help of photogrammetric acquisitions of the cathedral, leading to point clouds generation, projects were created in the aïoli platform. The structuring of the collected data (condition report, architectural descriptions, chemical and physical analysis…) has then led to the construction of semantic annotations, accompanied by description sheets and attachments. The vast multidisciplinary studies conducted on the cathedral as well as the large number of projects and annotations built over the course of 4 years constitute a singular collection of data, that will be the object of cross comparison and data interpretation in the future years.

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Ortín Molina, Sergio, and Miguel Ángel Ortín Molina. "Notre-Dame de París. Dov’era e com’era: la réplica que habita en la ruina." Loggia, Arquitectura & Restauración, no. 34 (December 22, 2021): 8–27. http://dx.doi.org/10.4995/loggia.2021.15209.

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La futura intervención sobre la catedral de Notre-Dame de París ha generado un debate en el ámbito de la restauración del patrimonio arquitectónico que, aunque parece moderno, permanece abierto de manera irresoluble desde hace décadas. La reconstrucción del Campanile de San Marcos tras su colapso, la recuperación de los grandes monumentos europeos dañados durante los conflictos bélicos del siglo XX, como la catedral de Reims, la abadía de Montecassino o la Frauenkirche de Dresde, y la restitución idéntica de simbólicos edificios como el Gran Teatre del Liceu de Barcelona o La Fenice de Venecia, son solo algunos de los casos que han seguido los principios de la «restauración histórica». El reciente suceso de Notre-Dame abre una nueva ventana a la reflexión contemporánea sobre el modo más adecuado de intervenir en el Patrimonio Cultural, poniendo a prueba la vigencia de la extendida filosofía del dov’era e com’era.

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Park, Joohyang. "Revisiting Philip the Chancellor's Influence on the Birth of the Motet: Focusing on the Works of Philip the Chancellor Included in Major Music Manuscripts in the 13th Century." Korean Society of Culture and Convergence 45, no. 8 (August 31, 2023): 659–73. http://dx.doi.org/10.33645/cnc.2023.08.45.08.659.

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Philip the Chancellor(c.1160-70 - 1236), who has been recorded in history as an important figure at Notre Dame Cathedral in Paris, has been known as a person who played an important role in the spread of the Latin lyric poetry repertoire in the 13th century. Many of his extant poems were often used as lyrics for the Notre Dame School, who was a famous composer at the time, and his ability to set poetry to music makes it clear why his work was favoured by composers of the time. However, despite his contribution, his work has not been published in complete works or actively studied. This study examines Philip's musical works based on the major music manuscripts of the 13th century, which are the sources of his works, and discusses how his music influenced the genesis of the motet, which emerged as the dominant genre of the 13th century. In doing so, it establishes Philip's place in the history of medieval music alongside Leonin and Pérotin, the leading figures of the Notre Dame school of his day.

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Elwert, Frederik, Giulia Evolvi, Anna Neumaier, and Kim de Wildt. ": Emoji and Religion in the Twitter Discourses on the Notre Dame Cathedral Fire." Journal of Religion, Media and Digital Culture 11, no. 2 (January 31, 2023): 198–226. http://dx.doi.org/10.1163/21659214-bja10071.

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Abstract The fire that destroyed a large part of the world-famous Notre Dame Cathedral in France in April 2019 shocked the world. A lively expression of thoughts and feelings during and after the fire arose on Twitter. In this article, we will analyze the discourses about the Notre Dame fire on Twitter, with a specific focus on emoji, focusing on the thoughts and feelings emoji express and how they convey the meanings religious buildings have for people. Based on a dataset of almost 2 million tweets collected in the week following the incident, this paper leverages a variety of computational and qualitative methods to explore the topic from different angles. Temporal analysis and topic modelling show the dynamics of emoji usage, which drastically changes after a few days from expressing sorrow to expressing skepticism. Semantic analysis using the word2vec model reveals the implicit meaning of potentially ambiguous emoji characters.

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Stewart, Zachary. "Notre-Dame of Amiens: Life of the Gothic Cathedral." Journal of the British Archaeological Association 174, no. 1 (January 1, 2021): 198–200. http://dx.doi.org/10.1080/00681288.2021.1965331.

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Date, Natsuki, Atoki Sato, Kazuya Takeuchi, Toshihiro Mori, Kohei Yokosuka, Yuki Ito, Kenta Shima, et al. "Fire at Notre Dame Cathedral and Lead Materials in the Environment." Fire Science and Technology 39, no. 1 (2020): 17–37. http://dx.doi.org/10.3210/fst.39.17.

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Jankowska, Małgorzata. "Internety się palą. O wybranych semiotyzacjach pożaru katedry Notre Dame." Załącznik Kulturoznawczy, no. 6 (2019): 41–76. http://dx.doi.org/10.21697/zk.2019.6.02.

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The aim of the article is to analyse some online reactions to the Notre Dame fire, especially the content of social media. The fire has often been interpreted through biblical symbolism as a sign of God’s presence, a warning or even a punishment. At the same time, various information bubbles have used the opportunity to discuss some basic global issues, e.g. climate change, comparing the burning cathedral to the burning Siberian and Amazonian forests. There are also some examples of the pure netlore which can be seen as an element of the process of carnivalization – a way out from the apocalyptic narratives of any kind.

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Glorennec, Philippe, Aurélia Azema, Séverine Durand, Sophie Ayrault, and Barbara Le Bot. "The Isotopic Signature of Lead Emanations during the Fire at Notre Dame Cathedral in Paris, France." International Journal of Environmental Research and Public Health 18, no. 10 (May 19, 2021): 5420. http://dx.doi.org/10.3390/ijerph18105420.

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When Notre Dame de Paris cathedral caught fire on 15 April 2019, lead particles were deposited in its surroundings. Our objective was to determine whether the lead plume had a homogeneous isotopic signature (i.e., a set of homogenous isotopic ratios), and whether, if so, this was different from common sources. In January 2020, dust samples were collected from six areas inside the cathedral, downwind of the fire, as well as from eight roof debris fragments. These samples were mineralized and analyzed using ICP-MS. Their isotopic ratios (207Pb/206Pb and 206Pb/204Pb) were determined and then compared both to each other and to previous published ratios measured in home dusts and blood samples collected in France. The isotopic ratios of dust samples collected inside the cathedral were compatible with each other and with the roof fragments. These isotopic ratios are common and differ neither from those of many other dusts collected in France during the period 2008–2009, nor from those of blood samples collected from children in France during the same period. Moreover, the fire’s isotopic signature is close to the overall signature for Paris. Indeed, it would be difficult to attribute the fire at the cathedral to either lead poisoning or environmental contamination.

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Vree, Monica. "Notre-Dame of Amiens: Life of the Gothic Cathedral by Stephen Murray." Comitatus: A Journal of Medieval and Renaissance Studies 52, no. 52 (2021): 275–77. http://dx.doi.org/10.1353/cjm.2021.0032.

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Polina, Anna, Svetlana Scherbak, and Anastasia Ovchatova. "SYSTEM OF IMAGES IN THE WORK OF VICTOR HUGO “NOTRE DAME CATHEDRAL”." Visnyk of the Lviv University, no. 39 (2021): 65–70. http://dx.doi.org/10.30970/pps.2021.39.9.

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Davis, Michael T. "Notre-Dame of Amiens: Life of the Gothic Cathedral by Stephen Murray." Catholic Historical Review 109, no. 1 (January 2023): 190–92. http://dx.doi.org/10.1353/cat.2023.0022.

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Bührle, Iris Julia. "A Pas De Deux for a Cathedral and a Hunchback: Roland Petit’s Ballet Notre-Dame De Paris." Forum for Modern Language Studies 55, no. 3 (July 1, 2019): 280–93. http://dx.doi.org/10.1093/fmls/cqz025.

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Abstract In 1965, the French choreographer Roland Petit set himself the task of making a ballet out of Victor Hugo’s voluminous novel Notre-Dame de Paris. The result departed radically from earlier attempts to transpose the work into movement by choreographers who included Jules Perrot and Marius Petipa. Although the love plot (which revolves around a dancer), the wide range of emotions depicted, the stark contrasts, and alternation between crowd scenes and more intimate scenes favour its transposition into a ballet, the novel also presents numerous difficulties, such as the importance of politics, philosophy and architecture. Quasimodo, Frollo and the cathedral seem rather unsuitable protagonists for a ballet. This paper argues that Petit’s adaptation of Notre-Dame de Paris engaged with the literary source on a much deeper level than its predecessors. Petit’s innovative ballet does not merely illustrate the novel: it reveals underlying elements in the source and sheds new light on it.

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Mertens, G., J. Elsen, R. Brulet, A. Brutsaert, and M. Deckers. "Quantitative composition of ancient mortars from the Notre Dame Cathedral in Tournai (Belgium)." Materials Characterization 60, no. 7 (July 2009): 580–85. http://dx.doi.org/10.1016/j.matchar.2008.09.004.

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Vallée, Alexandre, Emmanuel Sorbets, Hélène Lelong, Jérôme Langrand, and Jacques Blacher. "The lead story of the fire at the Notre-Dame cathedral of Paris." Environmental Pollution 269 (January 2021): 116140. http://dx.doi.org/10.1016/j.envpol.2020.116140.

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Kosowski, Bogdan, and Artur Luzar. "Social Media as a Source of Information and Misinformation on the Example of the Notre Dame Fire." Safety & Fire Technology 56, no. 2 (2020): 6–20. http://dx.doi.org/10.12845/sft.56.2.2020.1.

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Aim: The aim of this article is to analyse the activity of individual users, institutions and organisations in social media in the context of the fire in the Notre Dame Cathedral. The main threats of using this type of tools in crisis communication are presented, with particular emphasis on the propagation of information and disinformation. Introduction: The development of social media (platforms) in the global Internet means that they have become a tool commonly used by various types of private organisations, public administration and services. Using this medium gives great opportunities in the process of providing current information, efficient communication with the local community, building positive relations and creating a positive image of the organisation. Social media are also used by the government administration and emergency services of many countries during each of the four phases of crisis management (mitigation, preparedness, response, recovery). Information and communication technologies together with social media play an important role in contemporary people’s lives. They constitute an important part of everyday reality and are intrinsically related to it. The fire of the Notre Dame Cathedral in 2019 was widely commented on social media. The existing traditional methods of communication, such as press, television or radio, have significant limitations consisting in the inability to interact with the media users. Only the person who created the information could be the broadcaster. The internet, and social media in particular, has changed dramatically this state of affairs, giving recipients the opportunity to interact with people/institutions generating content. Methodology: The method applied in the article is that of literature review in the area of Web 1.0, Web 2.0, Web 3.0 development as well as the course of the fire of the Notre Dame Cathedral. Statistical analysis was performed using Google Trends. The paper indicates the main sources of opportunities and threats to users' activity in social media, with particular emphasis on the aspects related to the efficient operation of emergency services. Conclusions: The role of social media in crisis situations has not yet been established. It is evolving and it can be expected that with time it will be used to an increasing extent also in cases such as fires and other threats to cultural goods. The authors recommend further research on the behaviour of users of social networking sites, groups and the entire portal.

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Everist, Mark. "From Paris to St. Andrews: The Origins of W1." Journal of the American Musicological Society 43, no. 1 (1990): 1–42. http://dx.doi.org/10.2307/831405.

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Recent research has suggested that W1 may have been copied in St. Andrews in the 1240s. Very little attempt has been made to understand why or how the virtuoso polyphony associated with the cathedral of Notre-Dame in Paris came to be cultivated so far from home. The article argues for a redating of the manuscript in the 1230s and therefore rejects the suggestion that the interest in polyphonic music was generated by Bishop David Bernham (in office from 1239-1253) and points to his predecessor, Guillaume Mauvoisin (1202-1238) as the agency by which Parisian music was transmitted from Paris to St. Andrews. Mauvoisin's career is reconstructed with particular attention to his contacts with France and his exposure to the music of the so-called Notre-Dame school. It is concluded that a member of Mauvoisin's familia, perhaps Mauvoisin himself, provided the driving force for the promotion of Parisian polyphony at St. Andrews as a result of the discovery of that repertory during travels in France in the first quarter of the thirteenth century.

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Lu, Ke, Chaoyang Zhang, Jiahao Li, and MingDer Jean. "Virtual Reality for the Visualised-Guided Tours of the Notre Dame Museum in Paris." International Journal of Social Sciences and Artistic Innovations 4, no. 3 (July 10, 2024): 1–7. http://dx.doi.org/10.35745/ijssai2024v04.03.0001.

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This study aims to explore the application of virtual reality technology for visualization in museums, using Notre Dame de Paris, France, as an example. It is more rich in scenes, more interactive graphics, and other visualizations, which enables viewers to enjoy the reconstructed Notre Dame online with the best audio-visual effects. We used the Likert scale research method for a survey. The questionnaire was administered to 15 students and 15 experts for basic information collection and experience feedback. Using data statistics and qualitative analysis, the effectiveness of the guided tours was validated. The result showed that VR museum tours were supported with great potential. Its more interactive guided tour experience enhanced the audience's experience and improved their understanding and interest in history and culture. Virtual reality technology was successfully applied to guide NDDP by providing a richer and more interactive guided experience and promote the cultural heritage and development of the cathedral. The research result provides a reference and inspiration for the future development of guided tours of museums.

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Kluczewska-Wójcik, Agnieszka. "“Inner light” Stained glass in contemporary French sacred art – an overview." Sacrum et Decorum 15 (2022): 110–40. http://dx.doi.org/10.15584/setde.2022.15.6.

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In the 1920s, a movement of revival of sacred art began in France, which also included stained glass. Its revival was associated with a departure from the illusionistic character of stained glass of the 19 th century and a reference to monumentalism and the spiritual tradition of the Middle Ages. The search for a new concept of stained glass, both in its ideological and technological aspects, resulted in the creation of “artists’ stained glass” (vitraux d’artistes), realised from the middle of the 20 th century on official commissions, thanks to the cooperation of ecclesiastical institutions and state authorities, which acquired a firm legal and financial basis in the 1980s. The stages of this evolution were marked by stained glass ensembles designed by the masters of the post-war avant-garde: G. Rouault and J. Bazaine in Notre Dame de Toute Grâce on the plateau Assy (1937–1946); H. Matisse for Notre Dame du Rosaire in Vence (1940); A. Manessier in Saint Michel in Les Bréseux with the first abstract stained-glass windows (1948); F. Léger, J. Bazaine and J. Le Moal in the interior of Sacré-Coeur in Audincourt, (1949–1951); Le Corbusier in Notre Dame in Ronchamp (1951–1955) and the modern stained glass of J. Villon, R. Bissière and M. Chagall, which was introduced for the first time to a world-class monument of architecture, the Cathedral of Saint-Étienne in Metz (1955). The restoration of the Cathedral of Saint-Cyr et Sainte-Julitte in Nevers provided an opportunity for representatives of the younger generation: R. Ubac, C. Viallat, J.M. Alberola, G. Honegger and F. Rouan (1973–2011), to showcase their vision of stained glass painting. With the exception of Alberola, all were associated with the non-figurative trends that had been developing since the 1950s. The same trend referring to the Cistercian tradition included the outstanding realisations of J.P. Raynaud in Noirlac (1975–1977), P. Soulages in Conques (1986), J. Ricardon in Acey (1991–1994) and A. Nemours, a representative of the Art Concret movement, at Salagon (1998). The return to figuration found a continuation in the projects of G. Garouste for Notre Dame de Talant (1996–1997), C. Benzaken for Saint-Sulpice in Varennes-Jarcy (1991–2007), M. Raysse, associated with the Nouveau Réalisme movement, for Notre-Dame de l’Arche d’Alliance in Paris (1986–1998) and G. Collin-Thiébaut for Saint Gatien in Tours (2010–2013). The creators of vitraux d’artistes accepted the prescribed programmatic framework without giving up their freedom of choice in means of expression and aesthetic conventions. Thanks to the research and creativity of the artists – the introduction of innovative technological processes or a new interpretation of traditional materials and craft methods – but also the courage of the ecclesiastical and, above all, state commissioners, French stained glass has fully integrated itself into the evolution of contemporary visual expression.

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Whitehouse, Matthew. "Astronomical Organ Music." Culture and Cosmos 16, no. 1 and 2 (October 2012): 393–97. http://dx.doi.org/10.46472/cc.01216.0263.

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Music inspired by astronomical phenomena is familiar to INSAP participants. In this presentation, I will present two pieces of astronomy-inspired music composed specifically for the organ: Nebulae and Nova. The music will be accompanied by a slide show of astronomical images. Nebulae is my original work and is a musical narrative on the process of star formation. It has been performed throughout the United States, including at Notre Dame Cathedral in Paris in October 2010. Nova is by the American composer Myron Roberts, and is a depiction of a supernova explosion.

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L’Héritier, Maxime, Aurélia Azéma, Delphine Syvilay, Emmanuelle Delqué-Kolic, Lucile Beck, Ivan Guillot, Mathilde Bernard, and Philippe Dillmann. "Notre-Dame de Paris: The first iron lady? Archaeometallurgical study and dating of the Parisian cathedral iron reinforcements." PLOS ONE 18, no. 3 (March 15, 2023): e0280945. http://dx.doi.org/10.1371/journal.pone.0280945.

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The study of iron reinforcements used in the construction of Notre-Dame de Paris offers a glimpse into the innovation that took place on this building site in the mid-12th century, adapting metal to create a novel architecture. The restoration of the monument after the 2019 fire offered unique possibilities to investigate its iron armatures and to sample 12 iron staples from different locations (tribunes, nave aisles and upper walls). Six of them were dated thanks to the development of an innovative methodology based on radiocarbon dating. They reveal that Notre-Dame is the first known Gothic cathedral where iron was massively used as a proper construction material to bind stones throughout its entire construction, leading to a better understanding of the master masons’ thinking. Moreover, a metallographic study and slag inclusion chemical analyses of the staples provide the first study of iron supply for a great medieval Parisian building yard, renewing our understanding of iron circulation, trade and forging in the 12th and 13th century capital of the French kingdom. The highlighting of numerous welds in all iron staples and the multiple provenances sheds light on the activity of the iron market in this major medieval European city and the nature of the goods that circulated, and questions the possible importance of recycling.

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Ramzy, Nelly Shafik. "Concept cathedral and “squaring the circle”: Interpreting the Gothic cathedral of Notre Dame de Paris as a standing hymn." Frontiers of Architectural Research 10, no. 2 (June 2021): 369–93. http://dx.doi.org/10.1016/j.foar.2021.02.001.

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James, John. "Notre-Dame, Cathedral of Amiens: The Power of Change in Gothic (review)." Parergon 14, no. 2 (1997): 221–23. http://dx.doi.org/10.1353/pgn.1997.0051.

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Mullins, Sarabeth S. "The Past Has Ears at Notre-Dame Cathedral: An Interdisciplinary Project in Digital Archaeoacoustics." Acoustics Today 20, no. 2 (2024): 49. http://dx.doi.org/10.1121/at.2024.20.2.49.

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Randles, Sarah. "Labours of Love: Gender, Work and Devotion in Medieval Chartres." Emotions: History, Culture, Society 4, no. 2 (December 9, 2020): 374–97. http://dx.doi.org/10.1163/2208522x-02010101.

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Abstract The medieval cathedral of Notre-Dame of Chartres is famous for the depictions of artisans in its thirteenth-century stained-glass windows. Using gender as a lens through which to view these images makes clear that the work they depict is overwhelmingly undertaken by men. In contrast, women’s work, in the form of preparing textile fibres, is depicted in a series of stone carvings on the exterior northern portal of the cathedral. Here physical labour is juxtaposed with acts of reading and prayerful contemplation. Miracle tales from Chartres emphasise connections between gendered work and devotion to the Virgin Mary. This article considers these visual and literary depictions of labour at Chartres in the contexts of historical gendering of work, medieval ideas of divine cosmic order, and the role of work as religious devotional practice within a prevailing emotional regime.

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Chang, Wen-Yao, Chieh-Hsin Tang, and Ching-Yuan Lin. "Estimation of Magnitude and Heat Release Rate of Fires Occurring in Historic Buildings-Taking Churches as an Example." Sustainability 13, no. 16 (August 16, 2021): 9193. http://dx.doi.org/10.3390/su13169193.

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Historical buildings often fail to meet today’s building and fire protection regulations due to their structure and space restrictions. For this reason, if such buildings encounter fire, serious damage will be resulted. The fire of the Notre-Dame Cathedral in Paris (Notre-Dame de Paris) in April 2019 highlights the seriousness of this problem. In this study, the historical building of “Tamsui Church” was selected as an example. The Fire Dynamics Simulator (FDS) was adopted to analyze the scale of damage and possible hazards when the wooden seats in the church are on fire, and improvement measures were proposed to ensure that such buildings can be used under safer conditions. It was found that the existing seat arrangement will cause the spreading of fire, and the maximum heat release rate is 2609.88 kW. The wooden roof frame above the fire source will also start to burn at 402.88 s (6.6 min) after the fire, which will lead to a full-scale fire. To maintain the safety of the historical building, it is necessary to add active firefighting equipment (smoke detector and water mist system).

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Demouy, Patrick. "Les pueri chori de Notre-Dame de Reims. Contribution à l'histoire des clergeons au Moyen Age." Actes de la Société des historiens médiévistes de l'enseignement supérieur public 22, no. 1 (1991): 135–49. http://dx.doi.org/10.3406/shmes.1991.1596.

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Ferreira, Tiago Miguel. "Notre Dame Cathedral: Another Case in a Growing List of Heritage Landmarks Destroyed by Fire." Fire 2, no. 2 (April 24, 2019): 20. http://dx.doi.org/10.3390/fire2020020.

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Davis, Michael T. "Review: Notre-Dame, Cathedral of Amiens: The Power of Change in Gothic by Stephen Murray." Journal of the Society of Architectural Historians 57, no. 1 (March 1, 1998): 110–12. http://dx.doi.org/10.2307/991428.

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Elsen, Jan, Gilles Mertens, and Koen Van Balen. "Raw materials used in ancient mortars from the Cathedral of Notre-Dame in Tournai (Belgium)." European Journal of Mineralogy 23, no. 6 (December 21, 2011): 871–82. http://dx.doi.org/10.1127/0935-1221/2011/0023-2139.

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SHIMAZAKI, Aya. "THE CHANGES IN ORGANIZATION OF THE WORK SITE AT THE NOTRE-DAME CATHEDRAL OF LAON." Journal of Architecture and Planning (Transactions of AIJ) 85, no. 775 (2020): 2021–27. http://dx.doi.org/10.3130/aija.85.2021.

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Yuwei, Huang. "The Science and Religion behind Western Classical Architecture—Illustrated by the Examples of the Pantheon and Notre Dame Cathedral." Applied Science and Innovative Research 4, no. 4 (September 15, 2020): p1. http://dx.doi.org/10.22158/asir.v4n4p1.

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Architecture is the language of the earth, and light is the language of the sky. When the architecture opens a hole, the flowing light tilts down, and a dialogue between man and God unfolds, the science and religion behind it also tells a story. Great architects can not only build in static space, but also capture the dynamic light to become a part of the building. This paper takes the Pantheon and Notre Dame as examples to explore the scientific connotation and humanistic spirit behind them.

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Allonneau, Alexandre, Samuel Mercier, Olga Maurin, Fabien Robardet, Anne Menguy-Fleuriot, Say-Chong Luu, Catherine Louyot, Nicole Jacques, Romain Jouffroy, and Bertrand Prunet. "Lead contamination among Paris Fire Brigade firefighters who fought the Notre Dame Cathedral fire in Paris." International Journal of Hygiene and Environmental Health 233 (April 2021): 113707. http://dx.doi.org/10.1016/j.ijheh.2021.113707.

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Hulin, Guillaume, Christophe Besnier, Dorothée Chaoui-Derieux, Sébastien Flageul, Christophe Norgeot, Cyril Schamper, François-Xavier Simon, and Alain Tabbagh. "A Geophysical Survey in Notre-Dame de Paris Cathedral: Revealing the Buried Past After the Disaster." ArchéoSciences, no. 45 (August 16, 2021): 75–77. http://dx.doi.org/10.4000/archeosciences.8610.

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WEBER, JEROME F. "Recent releases of plainchant." Plainsong and Medieval Music 10, no. 1 (April 2001): 81–90. http://dx.doi.org/10.1017/s0961137101000067.

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The most impressive recent recording is undoubtedly ‘Codex Calixtinus’ (no. 1 in the list below), a boxed set of four discs that presents virtually the complete music of the manuscript entitled ‘Jacobus’, still preserved at the cathedral of Santiago de Compostela. To be sure, though it has not drawn any comment in this department, the twenty polyphonic pieces that form the appendix to this collection of music have been recorded complete in recent years (Sequentia and Ensemble Venance Fortunat have each devoted a disc to the collection), and the fourth disc of this set duplicates them. Some of these pieces have long been known on records, for they rank with the St Martial sources as the most important examples of polyphony before the Notre Dame period.

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Smith, Kate E., Dominique Weis, Catherine Chauvel, and Sibyle Moulin. "Honey Maps the Pb Fallout from the 2019 Fire at Notre-Dame Cathedral, Paris: A Geochemical Perspective." Environmental Science & Technology Letters 7, no. 10 (July 20, 2020): 753–59. http://dx.doi.org/10.1021/acs.estlett.0c00485.

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Crang, Jeremy A. "General De Gaulle Under Sniper Fire In Notre Dame Cathedral, 26 August 1944: Robert Reid's Bbc Commentary." Historical Journal of Film, Radio and Television 27, no. 3 (August 2007): 391–406. http://dx.doi.org/10.1080/01439680701443184.

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Journal articles on the topic 'Notre-Dame de Reims (Cathedral)'

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