Academic literature on the topic 'Paris, 1840s'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Paris, 1840s.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Paris, 1840s"
1
Joseph, John E. "Language Pedagogy and Political-Cognitive Autonomy in Mid-19th Century Geneva." Historiographia Linguistica 39, no. 2-3 (2012): 259–77. http://dx.doi.org/10.1075/hl.39.2-3.04jos.
Full textAbstract:
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).
2
JOHNSON, JAMES H. "Urban development and the culture of masked balls in nineteenth-century Paris." Urban History 40, no. 4 (2013): 646–62. http://dx.doi.org/10.1017/s0963926813000205.
Full textAbstract:
ABSTRACTThis article links the nature of commercial masked balls in Paris in the 1830s and 1840s to urban development during these decades. The raucous and often destructive character of the balls, which united elites and popular classes under the mask's anonymity, coincided with a society undergoing social and political upheaval. The dress and conduct of revellers were expressions of their ambitions, fears and resentments. Changes in the urban landscape of the 1820s and 1830s – in particular, the construction of the grands boulevards and alignment of theatres sponsoring masked balls along this axis – sharpened potential conflict at such events by placing them in one of the most socially charged corridors of the city.
3
Tarlow, Sarah. "Landscapes of memory: The nineteenth-century garden cemetery." European Journal of Archaeology 3, no. 2 (2000): 217–39. http://dx.doi.org/10.1179/eja.2000.3.2.217.
Full textAbstract:
During the 1820s, 1830s and 1840s, garden cemeteries were founded in most cities in Britain. Their characteristic appearance owes much to a British tradition of naturalistic landscape design but has particular resonances in the context of death and mourning in the nineteenth century. This article considers some of the factors that have been significant in the development of the British landscape cemetery, including public health, class relationships and foreign influences (particularly that of Père Lachaise cemetery in Paris). It is argued that none of these things explains the popularity of this particular form of cemetery in Britain; rather, the garden cemetery offered an appealing and appropriate landscape for remembering the dead and mediating the relationship between the dead and the bereaved.
4
Freifeld, Alice. "Marketing Industrialism and Dualism in Liberal Hungary: Expositions, 1842–1896." Austrian History Yearbook 29, no. 1 (1998): 63–91. http://dx.doi.org/10.1017/s0067237800014806.
Full textAbstract:
The expositions stagedby Hungarian liberals in the nineteenth century—the modest Pest industrial fairs of the 1840s; the agricultural hibitions of the counterrevolutionary 1850s; the Pest agricultural exhibition in 1865; the three provincial industrial exhibitions of the 1870s in Kecskemét, Szeged, and Székesfehérvár; the successful national exhibition in Budapest in 1885; and the lavish Millennium Exhibition of 1896—conformed to the wider European and American pattern of expositions. Between 1876 and 1916 some one hundred million Americans attended expositions; over 20 percent of the U.S. population attended Philadelphia's Centennial Exposition of 1876. Over forty-eight million people passed through the turnstiles of the Paris Exposition of 1900. The three million who attended the 1896 Hungarian Millennium Exhibition were well aware that they were participating in a distinct rite of industrial civilization. Although the Hungarian numbers were far smaller, it is wrong to assume that the Hungarian nationl fairs were copycat undertakings.
5
Gadamska-Serafin, Renata. "Norwid and Edmund Chojecki – the Traveller." Studia Norwidiana 38, English Version (2020): 177–216. http://dx.doi.org/10.18290/sn.2020.38-13en.
Full textAbstract:
The writer Edmund Chojecki (Charles Edmond) was one of Norwid’s most significant acquaintances, already in the Warsaw period, and later in Paris. Their friendship started in Warsaw in the 1840s and lasted a lifetime (or at least until the 1870s), although its preserved epistolary traces are scarce. This article focuses on Chojecki’s reports from his travels and their inspiring influence on Norwid: Edmund’s trip with Count Branicki to the Crimea (Wspomnienia z podróży po Krymie, Warszawa 1845), journey to the North Seas with Prince Napoleon (Voyage dans les mers du Nord, Paris 1857), Chojecki’s sojourn in Egypt at the turn of 1851, and finally his involvement in preparing the Egyptian exhibition (as the commissioner general) at the 1867 World Exhibition in Paris (L’Égypte à l’Exposition universelle de 1867, Paris 1867). The most important outcome of this is Norwid’s drama Kleopatra i Cezar and his collection of Egyptian drawings in the album Orbis (I).
6
Vellutini, Claudio. "Fanny Tacchinardi-Persiani, Carlo Balocchino and Italian Opera Business in Vienna, Paris and London (1837–1845)." Cambridge Opera Journal 30, no. 2-3 (2018): 259–304. http://dx.doi.org/10.1017/s0954586719000090.
Full textAbstract:
AbstractThis article addresses several historiographical questions about narratives of nineteenth-century Italian opera by discussing the international career of prima donna Fanny Tacchinardi-Persiani during the 1830s and 1840s. A number of hitherto overlooked letters between the singer and Carlo Balocchino, impresario of the Kärntnertortheater in Vienna, provide important insights into Tacchinardi-Persiani's strategies of self-representation in the context of a dynamic operatic network that included the Italian States, Vienna, Paris and London. By revealing shifting power dynamics between opera impresarios, performers and composers, these letters, read in parallel with reviews and other writings of the time, offer a fresh look at the economic, ideological and artistic factors that contributed to the shifting geography of the European operatic landscape in the first half of the nineteenth century.
7
Ferguson, Trish. "Bonfire Night in Thomas Hardy’s The Return of the Native." Nineteenth-Century Literature 67, no. 1 (2012): 87–107. http://dx.doi.org/10.1525/ncl.2012.67.1.87.
Full textAbstract:
This study of Thomas Hardy’s The Return of the Native (1878) examines the context of the 1840s when the narrative is set, when the celebration of November Fifth had become an annual occasion of radical violence. Through the symbol of the bonfire The Return of the Native examines contemporary fears of violence in England in the wake of the French Revolution against an indigenous, age-old culture of economic unrest and rebellion. This division between political and economic radicalism is figured in the distinction between Eustacia Vye’s association with bonfires and Paris and the Egdon laborers whose bonfire burning is an age-old act of rebellion that, in the 1840s, had associations with radical violence on account of economic grievances. Bonfire Night in The Return of the Native thus gives expression to the political and economic issues that underlie the narrative and the economic issues that remain unresolved, thus reflecting the complex and divided radical climate of England in the wake of the French Revolution. This reading of the significance of the 1840s as a setting for the narrative provides a coherent framework for understanding the seemingly disparate elements in the novel, namely bonfires as a structural motif, Clym’s return from Paris and his educational program, the breakdown of the Yeobrights’ marriage, the death of Eustacia, and Hardy’s addition of the epilogue, “Aftercourses,” as a revised ending.
8
FINKELSTEIN, GABRIEL. "M. du Bois-Reymond goes to Paris." British Journal for the History of Science 36, no. 3 (2003): 261–300. http://dx.doi.org/10.1017/s0007087403005065.
Full textAbstract:
This article examines the science of electrophysiology developed by Emil du Bois-Reymond in Berlin in the 1840s. In it I recount his major findings, the most significant being his proof of the electrical nature of nerve signals. Du Bois-Reymond also went on to detect this same ‘negative variation’, or action current, in live human subjects. In 1850 he travelled to Paris to defend this startling claim. The essay concludes with a discussion of why his demonstration failed to convince his hosts at the French Academy of Sciences.La science ne consiste pas en faits, mais dans les conséquences que l'on en tire.Claude Bernard, Introduction à l'étude de la médicine expérimentaleGood talkers are only found in Paris.François Villon, Des Femmes de Paris
9
Ellis, Katharine. "Female Pianists and Their Male Critics in Nineteenth-Century Paris." Journal of the American Musicological Society 50, no. 2-3 (1997): 353–85. http://dx.doi.org/10.2307/831838.
Full textAbstract:
The sudden appearance of several female concert pianists in Paris in the mid 1840s forced male journalists to develop new critical rhetorics. Criticism of the period became saturated with problematic notions of gender, the use of the body, and levels of acting in performance. Because they were interpreters rather than composers, women pianists challenged traditional ideas about the meaning of pianistic virtuosity and were central to the enlargement of the concert repertory. In comparison with male colleagues, however, they were disadvantaged, caught in a web of conflicting ideas concerning the relative value of particular keyboard repertories that were themselves gendered.
10
Loeser, Martin. "Zur Rezeption der Oratorien Haydns in Paris zwischen 1800 und 1850: Institutionelle und ästhetische aspekte." Studia Musicologica 51, no. 1-2 (2010): 201–13. http://dx.doi.org/10.1556/smus.51.2010.1-2.14.
Full textAbstract:
In German speaking countries Haydn’s oratorios, and particularly TheCreation , have played an important role in the repertoire of choral societies and music festivals since the 1810s. However, in France, and also in Paris — “the capital of the 19th century” —, Haydn’s oratorios were performed only on rare occasions, and then they were given mostly in parts. The reasons for these circumstances can be seen in the institutional and esthetical context of the Parisian concert life. With respect to professional concert societies, like the Société des Concerts du Conservatoire , rigid obstacles were on the one hand the enormous financial risk of a complete oratorio performance. On the other hand the established type of concert programmes with its varied mixture of vocal and instrumental pieces functioned as a barrier. Most important was a lack of mixed amateur choral societies, which developed in Paris quite late, primary in the 1840s, and then only little by little. Since oratorio performances lasted to be mostly a private affaire in the first half of the 19th century, it is not surprising, that Haydn’s oratorios were studied in aristocratic salons of Princesse de Belgiojoso and Baron Delmar with the intention of both education and entertainment.
Dissertations / Theses on the topic "Paris, 1840s"
1
Scarpa, Marie Privat Jean-Marie. "LE VENTRE DE PARIS D'EMILE ZOLA. UNE LECTURE ETHNOCRITIQUE /." [S.l.] : [s.n.], 2000. ftp://ftp.scd.univ-metz.fr/pub/Theses/2000/Scarpa.Marie_Rose.LMZ0001.pdf.
Full text
2
Ulmer, Grace. "Economic and social development of Calcasieu Parish, Louisiana, 1840-1912." Lake Charles, La. : McNeese State University, Frazar Memorial Library, Dept. of Archives and Special Collections, 2007. http://www.library.mcneese.edu/depts/archive/ulmer.htm.
Full text
3
Harts, Caroline. "Les femmes et l'accouchement à la maternité de Paris, 1815-1840." Master's thesis, Université Laval, 1993. http://hdl.handle.net/20.500.11794/17834.
Full text
4
Scarpa, Marie-Rose. "Le Ventre de Paris d'Emile Zola : une lecture ethno-critique." Metz, 2000. http://docnum.univ-lorraine.fr/public/UPV-M/Theses/2000/Scarpa.Marie_Rose.LMZ0001.pdf.
Full textAbstract:
L'ethno-critique se propose d'étudier la polyphonie culturelle constitutive du texte littéraire, et, plus particulièrement, la manière dont il textualise, selon sa logique propre, des formes de culture minorée, populaire, folklorique dans le Ventre de Paris. La lecture ethno-critique emprunte essentiellement deux voies. Reposant d'abord la question de Zola ethnologue, nous nous attachons à analyser comment l'écrivain construit le quartier des Halles en communauté urbaine populaire, en véritable société de voisinage, avec ses règles, ses coutumes, ses rites. Relisant ensuite dans la lutte des gras et des maigres qui organise le système des personnages la réappropriation zolienne du combat de carnaval et de Carême, nous tentons de montrer toute la portée tant textuelle que socio-politique et symbolique du phénomène carnavalesque à l'oeuvre dans le roman. Les problèmes complexes de la réception culturelle des univers de fiction sont abordés au fil de la démonstration
5
Gosselin, Ronald. "Les almanachs républicains : traditions révolutionnaires et culture politique des couches populaires de Paris (1840-1851)." Doctoral thesis, Université Laval, 1990. http://hdl.handle.net/20.500.11794/17628.
Full text
6
Branthomme, Michel. ""Lettres de Paris du Sémaphore de Marseille (1er janvier-1er mai 1874) : Texte présenté et annoté." Aix-Marseille 1, 1986. http://www.theses.fr/1986AIX10003.
Full textAbstract:
Vivant a paris, emile zola a fourni, de facon continue, de 1871 a 1877, une correspondance quotidienne anonyme au semaphore de marseille, journal republicain modere. Un echantillon de quatre mois (janvier a mai) de l'annee 1874, contenant 97 lettres de paris, a ete retenu pour faire l'objet d'une publication de cette collaboration, encore inedite. Cette production, sous forme de chroniques assez regulierement structurees, aborde de nombreux sujets :actualite parlementaire,politique et mondaine, mais aussi de critique litteraire, theatrale et artistique, que l'on peut rattacher a l'ensemble de la production journalistique de zola. L'auteur des rougon-macquart, a cette epoque, est en quelque sorte "interdit" dans la presse parisienne. Ces lettres sont donc son unique moyen d'expression. Occupe par son oeuvre romanesque, il gagne un temps precieux et s'inspire presque integralement du rappel pour fournir sa copie quotidienne au journal marseillais. Completee d'une introduction et de notes explicatives, cette publication tente de situer ces textes dans l'ensemble de l'oeuvre journalistique et critique d'emile zola.
7
Youssef-Bartou, Bahira. "La variabilité et l'invariabilité dans Le Ventre de Paris d'Emile Zola." Toulouse 2, 1996. http://www.theses.fr/1996TOU20040.
Full textAbstract:
Notre travail se compose de six chapitres : le premier chapitre est une recherche sur l'organisation du systeme des personnages et leurs roles thematiques dans le ventre de paris d'emile zola. C'est aussi une enquete ethnographique sur le marche des halles. Le deuxieme chapitre est une etude des variations lexicales et des marques de rejet. Le troisieme envisage le discours zolien. Le quatrieme est une recherche sur le lexique relationnel dans le roman pour distinguer les proprietes du fonctionnel discussif. Une typologie des discours fondee sur la distribution des mots en relation pour presenter une analyse semantique et clarifier certains aspects du fonctionnement de la langue en discours. Avec une etude descriptive de la negation et de l'ecriture zolienne, les procedes stylistiques dans la phrase zolienne<br>Research of the organisation of the system of the personage and of the relation's vocabulary in the ventre of paris of emile zola to distinguish the properties of the fonctionnal's discours. A typology of the discours based on the distribution between related words to represent a semantic analysis and clarified some of the aspects of the fonctionnal of language in discours. With a descriptif study of the negation and the writing of zola
8
Chevillot, Catherine. "Paris, creuset pour la sculpture (1900-1914)." Paris 10, 2013. http://www.theses.fr/2013PA100011.
Full textAbstract:
Au début du XXe siècle, l’aspiration à un nouvel univers formel est pressante dans le domaine de la sculpture. Retrouver les lois de leur art, voilà à quoi aspirent les sculpteurs. Depuis les années 1890, est apparue une nouvelle génération d’artistes, donc beaucoup sont des praticiens de Rodin, mais qui tous cherchent à se définir par rapport à lui. L’esthétique rodinienne est un passage à la fois obligé et contesté. Cette génération comprend les français Bourdelle, Maillol, Bartholomé, Joseph Bernard, mais aussi des sculpteurs issus de nombreux pays, qui font tous preuve, avec leurs personnalités respectives, de préoccupations convergentes. Gonzalez arrive à Paris en 1899, Brancusi et Nadelman s’y établissent en 1904, Gargallo y fait un passage en 1903-1904. En 1900, Hoetger s’installe dans la capitale (où il demeure jusqu’en 1907), en 1908 c’est le tour d’Archipenko. Lehmbruck y vit et travaille entre 1910 et 1914… Paris n’est pas seulement le lieu où la présence de Rodin rayonne, aimante les jeunes sculpteurs et les somme de réagir. C’est aussi un milieu intellectuel et artistique traversé de nouvelles idées. La sculpture ne reste pas à l’écart et stimule des débats esthétiques qui renouvellent la question de son autonomie par rapport à la peinture, de sa logique plastique propre, de l’attraction qu’opèrent les différents archaïsmes et primitivismes. Le milieu de la sculpture bénéficie aussi de la circulation des nouvelles idées philosophiques. Bergson, William James, Nietzsche et Simmel, en substituant des notions comme l’intuition, la mouvance et la suggestion à la raison, la permanence et la représentation naturaliste, deviennent des références qui animent des débats et fécondent la création plastique<br>Around 1900, in the field of sculpture, the desire for a new formal universe is urgent. Sculptors strive to fine the laws of their art. During the 1890s, a new generation of sculptors appears. Most of them work closely with Rodin, but all try to define themselves in relation to him. This generation includes artists such as Bourdelle, Maillol, Bartholomé, Joseph Bernard, but also numerous sculptors from different countries, who show, with their respective personalities, convergent concerns. Gonzalez arrived in Paris in 1899, Brancusi and Nademan moved there in 1904, Gargallo made a trip 1903-1904. In 1900, Hoetger settled in Paris where he remained until 1907, Archipenko arrived in 1908. Lehmbruck lived and worked there between 1910 and 1910… Paris is not only the place where Rodin shines, attracts young sculptors and causes them to respond. It is also a melting pot which promotes exchanges of points of view in the field of arts and ideas. Sculpture does not remain an isolated world, and aesthetic debates concern its independence from the paint, its autonomous universe, its attraction to archaism and primitivism. New philosophical ideas grow in sculpture society. Bergson, William James, Nietzsche and Simmel use new concepts as intuition, mobility and suggestion, which substitute others like ratio, permanency and naturalistic representation: these philosophers become references that animate debates and fertilize the visual arts
9
Van, Leeuwen Claire. "Les monuments d'architecture parisiens : pratiques patrimoniales et représentations (1790-1840) : genèse d'une conservation du patrimoine." Paris 1, 2001. http://www.theses.fr/2001PA010562.
Full textAbstract:
L 'historiographie du patrimoine en Révolution a traditionnellement privilégié l'étude de la conservation des objets, livres et oeuvres d'art, nationalisés en même temps que l'ensemble des biens du clergé. La législation et les institutions mises en place à partir de 1790 ont permis la préservation d'une partie de ces objets, en liaison avec la création muséale. Mais la partie immobilière du patrimoine ecclésiastique est restée le plus souvent en marge de ces efforts pour conserver un patrimoine national en construction, et poser des limites à un iconoclasme officiel condamné à partir de Thermidor comme " vandale ". L 'héritage monumental ecclésiastique est placé à partir de 1789 au croisement d'intérêts très divers, liés à la politique religieuse, à l'économie, aux stratégies d'urbanisme, et aux théories sur l'art et l'architecture. La plupart des anciens couvents et églises sont aliénés comme biens nationaux et entrent dans la sphère de la propriété privée. Mais une partie importante des 250 établissements religieux de la capitale est réutilisée au service d'administrations locales ou centrales, une appropriation qui a largement influencé leur préservation. Sous le Directoire, la création du Conseil des Bâtiments Civils et la nomination d'un architecte des " monuments conservés sous le rapport de l'art ", marquent l'entrée des " monuments d'architecture ) dans le débat sur la conservation. L'action de cet architecte s'est généralement limitée à la capitale, où une première liste de monuments " classés " est établie en 1797. A. -F. Peyre occupe ce poste pendant trois ans: il est à l'origine de nombreuses actions de sauvegarde et a défendu diverses propositions innovantes du point de vue législatif et financier. Le Concordat remettra en cause une partie de ces acquis, mais certains projets formulés sous le Directoire seront réalisés trente années plus tard par Guizot avec la création de l'Inspection puis de la Commission des Monuments Historiques.
10
Amine, Bahira. "La description dans "Le ventre de Paris" d'Émile Zola : analyse de discours, éléments de stylistique linguistique." Toulouse 2, 1990. http://www.theses.fr/1990TOU20034.
Full textBooks on the topic "Paris, 1840s"
2
Office, Ordnance Survey. Parish memoirs 1830-1840. Queen's University of Belfast, 1988.
Find full text
3
Office, Ordnance Survey. Parish memoirs 1830-1840. Queen's University of Belfast, 1988.
Find full text
4
Office, Ordnance Survey. Parish memoirs 1830-1840. Queen's University of Belfast, 1988.
Find full text
5
Office, Ordnance Survey. Parish memoirs 1830-1840. Queen's University of Belfast, 1988.
Find full text
6
Office, Ordnance Survey. Parish memoirs 1830-1840. Queen's University of Belfast, 1988.
Find full text
7
Office, Ordnance Survey. Parish memoirs 1830-1840. Queen's University of Belfast, 1988.
Find full text
8
Office, Ordnance Survey. Parish Memoirs 1830-1840. Queen's University of Belfast, 1988.
Find full text
9
Office, Ordnance Survey. Parish Memoirs 1830-1840. Queen's University of Belfast, 1988.
Find full text
10
Office, Ordnance Survey. Parish memoirs 1830-1840. Queen's University of Belfast, 1988.
Find full textBook chapters on the topic "Paris, 1840s"
1
Hülk, Walburga. "Spectacular, Spectacular: Early Paris Mysteries and Dramas." In Nineteenth-Century Serial Narrative in Transnational Perspective, 1830s−1860s. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-15895-8_3.
Full text
2
Campbell, Gwyn. "‘Out of Africa’ : Madagascar and South Africa since the 1820s." In Paris, Pretoria and the African Continent. Palgrave Macmillan UK, 1996. http://dx.doi.org/10.1007/978-1-349-25066-0_9.
Full text
3
Gabriele, Alberto. "Mary Elizabeth Braddon in Paris: The Cross-Chunnel Relations of Periodical Sensational Literature in the 1870s–1880s." In Reading Popular Culture in Victorian Print. Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230101272_7.
Full text
4
Willis, Peter. "Paris 1840s." In Chopin in Britain. Routledge, 2017. http://dx.doi.org/10.4324/9781315571829-3.
Full text
5
Duong, Kevin. "From the Ballot to the Barricade in the Paris Commune." In The Virtues of Violence. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190058418.003.0004.
Full textAbstract:
This chapter analyzes socialist aspirations for social regeneration as they evolved from the 1840s to the Commune. It contrasts the political culture of the 1840s with that of the Commune to bring into view a conceptual mutation: where socialists had once pursued social regeneration through pacific methods and universal manhood suffrage, by 1871, they linked social regeneration with republican militarism and the reincarnation of “the people in arms.” This mutation is excavated through writers such as Louise Michel, Prosper-Olivier Lissagaray, and Jules Vallès. Although this mutation was contingent, once realized, it bonded socialist dreams of regeneration to popular redemptive violence.
6
Tilburg, Patricia. "From Grisette to Midinette." In Working Girls. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198841173.003.0001.
Full textAbstract:
This chapter examines the early nineteenth-century grisette as a literary type, and traces her reappearance on the cultural scene as a figure of nostalgia at the turn of the nineteenth century. By the turn of the century, the grisette of the 1830s and 1840s still regularly appeared throughout French popular culture as a sign of heightened romantic longing for a lost Paris, a France of small-scale industry, sentiment, and elegance. She was frequently conflated with contemporary garment workers, tethering living belle époque workingwomen to a figure of literary wistfulness. Parisian garment workers were repeatedly cast in the mold of a pleasing throwback, a woman at once thoroughly embedded in the modern Parisian landscape and yet, also, out of time, carrying within her the essence and soul of a lost or endangered France. The most popular grisette at the turn of the century was Musset’s Mimi Pinson, who was featured in songs, poems, postcards, ballet, vaudeville shows, short stories, novels, and films. This chapter also develops a physiognomy of the grisette’s belle époque descendant, the midinette, a modernized version of the type, and inheritor of both the grisette’s cultural significance and her limitations. From strike reportage to pulp novels to monuments, the Parisian garment worker found eroticized and socially useful shades of herself promoted around her city and nation in these years, shades which more often than not moved backward in time to the grisette of the 1830s and 1840s.
7
Stavělová, Daniela. "5. The Polka as a Czech National Symbol." In Waltzing Through Europe. Open Book Publishers, 2020. http://dx.doi.org/10.11647/obp.0174.05.
Full textAbstract:
Stavělová (Czech Republic) discusses how the Polka was established as a Czech national symbol during the middle of the nineteenth century. She analyses a large number of sources that discuss the Polka, tracing the dance from its appearance in Czech national circles in the 1830s to its success in Paris in the 1840s. She discusses its consolidation as a Czech symbol through the work of music composers such as Bedřich Smetana in the second part of the century, arguing that it was first and foremost the name of the dance that carried political meaning: Polka as a cultural product fulfilled this goal to a lesser extent. In this way, Stavělová offers a detailed discussion of how the myth of the Polka became a significant aspect of Czech national culture.
8
Lewin, Judith. "The Sublimity of the Jewish Type: Balzac’s Belle Juive as Virgin Magdalene aux Camélias." In Jewishness. Liverpool University Press, 2008. http://dx.doi.org/10.3828/liverpool/9781904113454.003.0011.
Full textAbstract:
This chapter studies the Jewish female character in French literature. The Jewish woman's difference from feminized Jewish men and marriageable Christian women is not enough to delineate her specificity and hence her function as a fictional character. She is also seen through the lens of orientalism, because of the constructed image of her roots in the Middle East as a member of the ‘Hebraic’ or ‘Israelite’ race. The French Romantic writer Chateaubriand suggested that the treatment of Jews by Christian society varied according to their gender and physical appeal. He argued that Jewish women were exempted from perpetual misery and persecution by the grace Jesus accorded to Mary Magdalene, and that this was the root of Christian men's attraction to and sexual associations with Jewish women. The chapter then presents specific examples of representations of Jewish women: in this case the Jewish woman in Paris of the 1830s and 1840s as she appears in Honoré de Balzac, one of the nineteenth century's most popular and influential European writers. While Balzac had limited contact with actual Jewish women in Paris, the figures he created had a tremendous influence on the rhetoric of representing what has come to be known as la belle Juive.
9
Olson, Kory. "The Triumphant Republic." In The Cartographic Capital. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781786940964.003.0004.
Full textAbstract:
This chapter examines Jean-Charles Adolphe Alphand’s Travaux de Paris, an atlas containing a series of maps that present the spatial and technical organization and amelioration of the city from 1789 to 1889. I focus specifically on planche (map sheet) XIII documenting ‘Paris en 1889: Les Opérations de voiries exécutées entre 1871 et 1889’ (‘Opérations de voiries’) as it documents the government’s ambitious Parisian road-building drive. Alphand’s ‘Opérations de voiries’ employs bright yellows and reds to celebrate the city and reaffirms the importance of an effective road network to Paris. By planning and building these streets and avenues and then publishing a map documenting its progress, the government proved its commitment to bettering all of the city’s neighbourhoods. In addition to demonstrating a more egalitarian approach to Paris betterment, chapter two argues Alphand’s work here also conveys authority and stability in the early republic. Perhaps more important is its presentation of the city. Here, the government’s definition of ‘Paris’ ends at the Thiers’ 1840s wall. By limiting his time and efforts to this space, Alphand reinforces a bourgeois view of the capital, and suggests that any existing development beyond that line does not merit cartographic representation in a map representing Paris.
10
Considine, John. "Liddell and Scott and the Oxford English Dictionary." In Liddell and Scott. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198810803.003.0021.
Full textAbstract:
This chapter focuses on the making of the Oxford English Dictionary (OED). It considers the claim of language sciences historian Hans Aarsleff that the lexicography of the OED depends entirely on Liddell and Scott’s Greek-English Lexicon. The story of the relationship between Liddell and Scott and the OED, which was to be published as A New English Dictionary on Historical Principles (NED) and then came to be known from the 1890s onwards as the OED falls into three parts. The first concerns the place of Liddell and Scott in the thought of the founders of the NED/OED project in the late 1850s and early 1860s. The second concerns the Lexicon’s place in the thought and practice of the founding editor of the printed dictionary, James Murray, from the late 1870s onwards. The third concerns the relationship between editions of Liddell and Scott and of the OED in the twentieth and twenty-first centuries.
Conference papers on the topic "Paris, 1840s"
1
Link, Martin. "Signum et gens – Zur Gendersemiotik in Clara und Robert Schumanns Liederzyklus Liebesfrühling." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.62.
Full textAbstract:
The marriage between Clara and Robert Schumann is one of the most popular relationships in music history. In 1840, a song cycle named Liebesfrühling with songs from Clara Schumann as well as from her husband was collectively published under their names. Despite the fact that the married couple did not specify the voice register and gender of the vocal parts within the score, some hints indicating the gender of the personas can be found for instance in the personal pronouns of the text. Yet, some parts of the song cycle do not provide such clues, leaving the question, to which gender the vocal parts are ascribed, completely open. Nevertheless, some scholarly examinations like Melinda Boyd’s publication Gendered voices. The “Liebesfrühling” Lieder of Robert and Clara Schumann try to answer this question using semiology as a method to indicate gender assignments. However, this raises the question of how far gender aspects can be examined through semiotic approaches. What symbols are used to specify gender? Did this change in history? And can these ascriptions be found in the music of Clara and Robert Schumann? The chosen method will show difficulties because of its time-constraint and the problem of relevancy. This is why the proposed theses of Boyd will be inspected regarding the text and the score of the song cycle Liebesfrühling. At the same time, the investigation will try to consider the importance of contemporary performance practice.
2
Gattuso, Caterina, Marco Castriota, Philomène Gattuso, and Francesca Saggio. "Memoria e conoscenza. Il castello di Belmonte in Calabria." In FORTMED2020 - Defensive Architecture of the Mediterranean. Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11486.
Full textAbstract:
Memory and knowledge. The castle of Belmonte in CalabriaA small A small village located in Italy on the Calabrian Tyrrhenian coast, Belmonte Calabro has its historic center with a typical medieval urban structure that has remained almost unchanged over the centuries and is characterized by the presence of the ruins of a castle and its surrounding environments whose. The planimetry succeeds to be identified because it is bordered by a wall, only partially preserved, pronounced by towers and marked by a road that, in its main points still existing, follows its development. The castle, built on the hill’s top of a tuff nature, in an elevated position respect to the urban core, had a plan with a roughly quadrangular shape with four imposing square towers. Of particular note is its curtain wall that originally had four doors, which opened in correspondence at the four cardinal points. In addition to having suffered several collapses in many parts of its structure due to the various earthquakes that occurred over time, as well as various looting and the siege by the French artillery dating back to the early 1800s, the castle is currently subjected to degrading actions due to the attack of biological type, which manifests itself with a widespread presence of patinas, as well as those due to a thick weed vegetation that affects many of the surfaces of its structure. The study aims to provide a useful contribution to reconstructing the profile of the original structure of the ancient castle. To obtain, therefore, more information about it, a specific survey plan was developed to characterize its constituent materials and also its state of preservation. To this end, in correspondence of structural parts still intact, samples were collected that were analyzed and characterized in the laboratory by Raman Spectroscopy.
3
Torrecilla Patiño, Elia. "El fotógrafo como encarnación del flâneur: del “daguerrotipo andante” al phoneur en el espacio híbrido ." In I Congreso Internacional sobre Fotografia: Nuevas propuestas en Investigacion y Docencia de la Fotografia. Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cifo17.2017.6633.
Full textAbstract:
Partiendo de la metáfora fotográfica empleada por Fournel (1857:268) en la que describe la figura del flâneur como “daguerrotipo andante”, se propone una actualización del fotógrafo encarnado en el prototipo de paseante moderno, desde su nacimiento en el París del siglo XIX hasta el espacio híbrido actual. El daguerrotipo, que requería un proceso de largos tiempos de exposición que influía en la quietud de los propios modelos para la obtención de una obra única, contrasta con la fotografía actual, mucho más “móvil” y múltiple que entonces. El fotógrafo recorre las calles acompañado de su cámara fotográfica en busca del acontecimiento urbano. Haciendo uso de la tecnología, registra sus impresiones ante la multiplicidad de estímulos que se producen en la metrópolis, y precisamente porque la fotografía es un arte propio de aquellos que se mueven, que caminan, al fotógrafo se le ha relacionado en numerosas ocasiones a la figura del flâneur, figura paradigmática de la experiencia moderna. En palabras de Susan Sontag (2005:55), “el fotógrafo es una versión armada del paseante solitario que registra, acecha y navega por el infierno urbano”. La ciudad es un cuerpo en continuo cambio formado por múltiples capas que son experimentadas, en su mayoría, a través del sentido de la vista, aunque en la deambulación, todos los sentidos se activan para apropiarse de la ciudad y resignificarla. En El pintor de la vida moderna Baudelaire (1840) ofrece un retrato del flâneur que es descrito por el propio poeta como una especie de hombre-ojo, donde el ojo es una cámara que registra todo lo que observa a través de su ojo-lente. En este sentido, la metáfora del flâneur como “daguerrotipo andante” hace visible la pulsión de convertir el ojo en el centro de la civilización moderna, además de las propias similitudes que existen entre el ojo y la cámara, ambos, sistemas capaces de producir imágenes reales. En la actualidad, la incorporación de las cámaras fotográficas en los teléfonos móviles, hace todavía más evidente la extensión del ojo como cámara. El flâneur-fotógrafo tiene ahora la posibilidad de capturar todo aquello que sucede a su alrededor, con la mirada fija en la pantalla de su dispositivo mientras su cuerpo se mueve callejeando. Si la experiencia que el flâneur moderno obtenía de la ciudad era una amalgama de estímulos que producía un estado narcotizante, el actual, que deambula por el espacio híbrido, experimenta una sensación caleidoscópica derivada de la sobreestimulación que proviene tanto desde la esfera física como de la digital. De esta manera, haciendo uso del teléfono móvil, registra cada instante a través de la cámara fotográfica y lo hace público compartiendo instantáneas urbanas en tiempo real. Un paseante híbrido prolongado por la tecnología (McLuhan, 1996), un flâneur que, retomando la propuesta de Robert Luke (2001), deviene phoneur, esta vez actualizado en una figura más móvil y en una versión posmoderna: un cronista y fotógrafo de la ciudad híbrida que muestra el acontecimiento urbano a través de unas fotografías que sirven como mapas y se convierten en pantallas, transformando al mundo en una especie de imagen, en un contexto de escenas o situaciones (Flusser, 2009). Siguiendo estas premisas, se realiza un enfoque de la figura del fotógrafo encarnado en flâneur, con el objetivo de indagar en la práctica fotográfica (móvil) y su relación con el caminar como experiencia estética.